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Auction Description for Auctionata: Asian Works of Art
Viewing Notes:
A preview at Auctionata is only possible on November 18/19 by prior appointment. Tel: +49 30 9832 0221, E-mail: sales@auctionata.com
Sale Notes:
http://auctionata.com

Asian Works of Art

by Auctionata


120 lots with images

November 22, 2013

Live Auction
120 Lots
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Ivory Okimono of a Poultry Farmer, signed Eishin, Meiji

Lot 1: Ivory Okimono of a Poultry Farmer, signed Eishin, Meiji

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Description: Ivory Japan, Meiji Period (1868-1912) Underside with collector's number and red artist signature 'Eishin' in a black lacquer cartouche Very fine carving and detailed decor Reticulated design Two removable hen figures Beautiful, honey-coloured patina Dimensions: 11 x 10 x 9 cm (h x w x d) Good condition Provenance: from a German private collection This exceptional ivory okimono dates back to the Meiji Period (1868-1912). It shows a humoristic depiction of a poultry farmer, trying to catch his chickens. Carrying an oval shaped basket underneath one arm, the farmer is reaching for the birds. The basket is carved in a reticulated design and covered with a floral patterned piece of cloth. The garment of the farmer is also decorated with a beautiful pattern of ginkgo leaves. A small bag and an elongated pipe case are attached to the obi. The delicately rendered chickens, as well as the farmer are mounted on a naturally shaped plinth, which is reminiscent to a sandy floor and shows the distinctive grain of the ivory. The sculpture shows a fine, honey-coloured patina and exhibits a remarkably elaborate craftsmanship. The ivory okimono is in good condition with minimal traces of age and wear. There is some material loss to a chicken's claw. Some minor age related fissures along the plinth as well as some traces of glue to the chickens and along the farmer's arm can be discerned. Underneath, the sculpture shows a collector's number and the artist's signature 'Eishin' in a black lacquer cartouche. It measures 11 cm in height, the width 10 cm and the depth 9 cm.

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Chikayoshi Ivory Sculpture 'Musician with Children', Meiji

Lot 2: Chikayoshi Ivory Sculpture 'Musician with Children', Meiji

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Description: Ivory - carved from one piece with a separate base Japan, Meiji Period (1868-1912) Artist signature 'Chikayoshi' Very fine chiselling and carving Honey-coloured patina Height: 24 cm Very good condition Provenance: from a German private collection This Japanese okimono dates back to the Meiji Period (1868-1912). It is carved from one piece of ivory and shows a musician with her children. This depiction is exhibits a very fine carving work with numerous delicately chiselled details. The garments of the mother and her children are rendered with an elaborate floral decor. The musician holds in her right hand a so-called shamisen - a Japanese lute. Her head is adorned with a finely fashioned straw hat. To the delight of the children, a dragonfly is resting on the hat. The three children - the two young girls standing at the feet of the mother and the little boy being carried on her back - gaze at the insect with awe. All the characters are rendered with individual, joyful facial expressions. The sculpture is placed on a naturally shaped plinth and shows a fine honey-coloured patina. This is a beautiful okimono, displaying exceptional carving skills. The okimono is in very good condition with only minimal traces of age and wear. The underside features the artist's signature 'Chikayoshi'. The sculpture measures 24 cm in height.

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Ivory Figurine of the Mother Goddess Kannon with a Lotus, Meiji

Lot 3: Ivory Figurine of the Mother Goddess Kannon with a Lotus, Meiji

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Description: Ivory - carved from one piece Japan, Meiji Period (1868-1912) Urna mother of pearl inlay Fine reticulated mandorla and adornments Even, honey-coloured patina Height: 25 cm Excellent condition Provenance: from a German private collection This figurine of the mother goddess Kannon is carved from one piece of ivory and dates back to the Meiji Period (1868-1912). Kannon is shown in the upright samabhanga position, standing on a wide open lotus blossom. A gown covers her body in fine folds and long ribbons twine around her arms. In her left hand, she is holding a lotus bud in front of her chest; her right hand forms the varada mudra, the gesture of granting a whish, with her palm turned towards the viewer. Her body and head are adorned with beautifully reticulated jewellery and a mandorla; on her head rests a precious looking crown. The noble honey-coloured patina enhances the fine appearance of this beautiful piece. The ivory sculpture is in excellent condition with only minimal traces of age and wear. The lacquer cartouche with the artist's signature is missing. Underneath, the figurine shows a collector's number. It measures 25 cm in height.

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Five Signed Ivory Okimono 'Drunken Jugglers', Meiji

Lot 4: Five Signed Ivory Okimono 'Drunken Jugglers', Meiji

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Description: Ivory - each figurine carved from one piece Japan, Meiji Period (1868-1912) Each with an artist's signature Fine carving with humoristic depiction Even, honey-coloured patina Height: each 8.5 cm Good condition Provenance: from a German private collection These five, humoristic miniature okimono are carved individually, each from one piece of ivory and date back to the Meiji Period (1868-1912). Five drunken jugglers are shown, each placed on a plinth and each rendered with different attributes. The right foot of each figurine is raised and placed either on a bucket or a stone. The richly decorated garments are individually designed and fittingly clad the differently positioned bodies. Each juggler carries an item such as a flower, a double gourd bottle or a bucket over his left shoulder, holding it with his left hand. In the right hand, each figurine holds a fan; some are shown with an embellished headdress. Their faces are rendered with joyful, animated expressions and it almost seems as if the men were just about to start a cheerful roundelay. The fine, amber-coloured patina endows this humorous quintet with a beautiful, noble appearance. The miniature okimono are in good condition with minimal traces of age and wear. There are some traces of glue along the plinth as well as some minimal age-related fissures and scratches here and there. Each figurine shows an artist's signature on the underside. Each measures 8.5 cm in height.

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Signed Ivory Okimono of a Geisha with a Parasol, Meiji

Lot 5: Signed Ivory Okimono of a Geisha with a Parasol, Meiji

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Description: Ivory -carved in one piece except for the parasol Japan, Meiji Period (1868-1912) With artist's signature on underside Delicate and detailed carving Fine patina Height with parasol: 24 cm Excellent condition Provenance: from a German private collection This okimono of a geisha with a parasol dates back to the Meiji Period (1868-1912) and is carved from one piece of ivory, apart from the parasol. The detailed decor of the geisha's garment exhibits an especially delicate carving work. The so-called obi is adorned with a splendidly plumed phoenix and a mon emblem surrounded by a flame garland. The kimono is decorated with finely rendered butterflies. The geisha wears geta sandals with high heels and holds in her hands a removable, closed parasol. Her face displays beautiful facial features; the hair knot, adorned with a rose blossom, emphasises her femininity. A beautiful carving with a honey-coloured patina and a distinctive grain in the ivory. The geisha is in exceptional condition with only minimal traces of age and wear. An artist's signature can be found on the underside. The figure, including the parasol, measures 24 cm in height. Without the parasol, the height is 21 cm.

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Signed Ivory Okimono Fukurokuju and Jurōjin, Meiji

Lot 6: Signed Ivory Okimono Fukurokuju and Jurōjin, Meiji

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Description: Ivory - each carved from one piece Lacquer and paint Japan, late Meiji Period (1868-1912) Each with the artists' signatures 'Tensen' and 'Keimin' in red lacquer cartouches Finely decorated garments and rich carving Even, honey-coloured patina Height: 15 cm and 17. 5 cm Good condition Provenance: from a German private collection These two Japanese ivory figurines show the two deities Fukurokuju and Jurōjin and date back to the late Meiji Period (1868-1912). They belong to the seven deities of fortune, the so called Shichi Fukujin. These two very popular deities Fukurokuju and Jurōjin represent wisdom, fortune and longevity. Each figurine is carved from one piece of ivory and decorated with paint and lacquer. Their gowns are adorned with rich floral patterns and gold. The head of the god Fukurokuju is covered with a fine cloth. In his left hand, which is hidden behind his gown, he is holding a fan. Jurōjin wears a tall, red hat with laterally protruding embellishments; his hands folded together in front of his belly. The deities have individually rendered faces with solemn expressions. The two figurines show a fine, honey-coloured patina and the distinctive grain of the ivory. The two ivory sculptures of Fukurokuju and Jurōjin are in good condition with some traces of age and wear. There are minimal age-related fissures on the back and along the lower edge. There are partly some distinctive colour abrasions. The figurines each show the artists' signatures 'Tensen' and 'Keimin' in a red lacquer cartouche underneath. They measure 15 cm and 17.5 cm in height.

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Signed Ivory Okimono of a Resting Rice Farmer, Meiji

Lot 7: Signed Ivory Okimono of a Resting Rice Farmer, Meiji

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Description: Ivory Japan, Meiji Period (1868-1912) Artist's signature in red lacquer cartouche Fine carving with rich decor Removable bag on the back of the farmer Fine, honey-coloured patina Dimensions: 10.5 x 7 cm (h x dm) Excellent condition Provenance: from a German private collection This ivory sculpture of a rice farmer dates back to the Meiji Period (1868-1912). The resting peasant is sitting on a bunch of twigs and holds in one hand a double gourd bottle. He is about to take a sip from the bottle, his face showing a blissful expression. Delicate features adorn the face, the hair is rendered with great attention to detail. The farmer wears a lavishly decorated gown. A small, removable bag can be found on his back, his axe is lying next to him on the ground. The figurine is mounted on an oval, naturally shaped plinth. It shows a beautiful, honey-coloured patina. The ivory okimono is in excellent condition with only minimal traces of age and wear. The underside shows an artist' signature in a red lacquer cartouche. The sculpture measures 1.5 cm in height with a diameter of 7 cm.

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Ivory Okimono of the God of Fortune Fukurokuju, Meiji Period

Lot 8: Ivory Okimono of the God of Fortune Fukurokuju, Meiji Period

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Description: Ivory - carved from one piece Japan, Meiji Period (1868-1912) Delicate carving with detailed decor Fine amber-coloured patina Underside with collector's number Height: 18 cm Very good condition Provenance: from a German private collection This Japanese okimono depicting the God of Fortune Fukurokuju is carved from one piece of ivory. It dates back to the Meiji Period (1868-1912). Fukurokuju is a very popular god in Japan and belongs to the seven deities of fortune (shichi fukujin). He represents wisdom, fortune and a long life. The deity wears an elegant and richly decorated gown and holds in his left hand a calabash, a so-called hyotan. In his right hand, he holds a scroll; another scroll is shown at his feet, next to a basket. Fukurokuju's long, finely chiseled beard falls to the center of his belly and his face shows a friendly expression. A bonnet, decorated with abstract cloud patterns, adorns his head. This fine piece shows very delicate carving and a beautiful, amber-coloured patina. The ivory figurine is in good condition with only minimal traces of age and wear. The underside shows a collector's number. It measures 18 cm in height.

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Mitsuhide Ivory Okimono of a Mother with her Little Sons, Meiji

Lot 9: Mitsuhide Ivory Okimono of a Mother with her Little Sons, Meiji

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Description: Ivory - carved from one piece Japan, Meiji Period (1868-1912) Artist signature 'Mitsuhide' in red lacquer cartouche Delicate carving Amber-coloured patina Height: 17.5 cm Excellent condition Provenance: from a German private collection This Japanese okimono dates back to the Meiji Period (1868-1912). It is carved from one piece of ivory and shows the depiction a young mother, carrying her two little sons who show their devotion to their mother. While one boy tenderly strokes her head, the other offers her a flower. The mother's face shows a very joyful, loving expression, which is reflected in the cheerful features of her two sons. All three are dressed in gowns decorated with floral and ornamental patterns. The mother wears sandals and stands on a naturally shaped plinth. The patina shows a beautiful amber colour, especially on the back. This graceful piece exhibits exceptional carving skills. The ivory sculpture is in excellent condition with only minimal traces of age and wear. The underside shows the artist's signature 'Mitsuhide' in a red lacquer cartouche. The okimono measures 17.5 cm in height.

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Elaborately Carved

Lot 10: Elaborately Carved "Cinnabar Lacquer" Bureau, Meiji

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Description: Wood carving and lacquer work in distinctive cinnabar red Japan, Meiji Period (1868-1912) High-quality craftsmanship Reticulated decor Partially with black lacquer detailing Richly carved with figural and ornamental motifs Legs in the shape of dragons Dimension: 136.5 x 91 x 60 cm (H x W x D) Good condition Provenience: from a German private collection This opulent lacquer bureau was crafted during the Meiji Period (1868-1912) and is adorned with overly rich lacquer work and wood carvings. The desk top rests upon four curved legs, which are designed in the shape of three-dimensional dragons. The beasts' heads and claws are carved in the finest manner. The ornamental reticulated back also exhibits an extraordinary craftsmanship quality. It features a phoenix - a symbol of virtue - in a wild bush of cherry blossoms. The same motif continues along the apron. All surfaces are richly adorned with fine carvings depicting sculptural cherry blossoms. Some details, such as the lotus flowers - a symbol of purity - on the surfaces, are coloured in black lacquer thus contrasting nicely with the cinnabar lacquer surfaces. The lacquer bureau is in good condition according to its age. The desk top shows surface chips. Some areas have been repaired, small elements of the pierced decor are broken and missing. Colour abrasions, notches and some age cracks are evident. The bureau measures 136.5 in height, 91 cm in width and 60 cm in depth. The table height is 76.5 cm.

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Figural Carved

Lot 11: Figural Carved "Cinnabar Lacquer" Side Table, Japan, Meiji

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Description: Wood carving and lacquer work in distinctive cinnabar red Japan, Meiji Period (1868-1912) High-quality craftsmanship Reticulated decor Partially with black lacquer detailing Richly carved with figural and ornamental motifs Legs with sculptural minogame turtles Height: 77.5 cm Diameter table top: 36.5 cm Good condition Provenience: from a German private collection This extravagant Japanese side table was crafted during the Meiji Period (1868-1912) and exhibits virtuoso wood carving work. It features four high curved legs - with small volute feet - which are adorned with three-dimensionalminogame turtles. The animals are carved in the finest manner. The minogame, which are so old that a train of seaweed is growing on their backs, are a symbol of longevity and felicity in Japanese iconology. The partially reticulated apron displays a similar dynamic decor withminogame swimming in water. The table top is fashioned in the shape of a flower and decorated with a ruyi motif along the edges. The lower shelf shows a medallion-shaped wave motif. Some elements are lacquered in black thus creating even more dramatic contrasts. The side table is in good condition with the usual traces of wear and age. Minor colour losses and material abrasions along the edges, few chips as well as minor scratches to the surface are evident. Two legs have been glued back. The table measures 77.5 cm in height, the table top has a diameter of approximately 36.5 cm.

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Imposing Cabinet with Shibayama Inlays, Japan, Meiji

Lot 12: Imposing Cabinet with Shibayama Inlays, Japan, Meiji

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Description: Wood carving and lacquer work in distinctive cinnabar red Shibayama inlays in mother of pearl and bone on gold lacquer Japan, Meiji Period (1868-1912) High-quality craftsmanship Reticulated decor Details in gold colour Richly carved with figural and ornamental motifs Dimension: 200 x 122 x 52 cm (H x W x D) Provenience: from a German Private Collection This elaborate cabinet dates back to the Meiji Period (1868-1912) and is adorned with overly rich lacquer work and wood carvings. The imposing body rises from four curved feet with a sculpturally carved floral decor. All surfaces are richly adorned with fine carvings depicting birds and dragons, flower reliefs and elaborate patterns. The doors show romantic scenes with birds and flowers, depicted with fine mother of pearl and bone inlays on a gold lacquer surface. The middle section is designed in the shape of a temple. The central motif on the back wall shows three sennin in a garden. In Japanese mythology Sennin are immortals said to hold magical powers who live a recluse life on the Cosmic Mountain. The cabinet is crowned with an elaborately reticulated relief showing a phoenix - a symbol of virtue - in a bush of cherry blossoms. On the left and right it is framed by two curved dragon figures. The back and interior are finished in black lacquer thus contrasting nicely with the cinnabar coloured surfaces. The lacquer cabinet is in fair condition according to its age. Many of the inlays are lost. Some areas have been repaired, the doors are loosely hinged. The fillets of two of the doors are loose. Colour abrasions, notches along the edges and some age cracks are evident, for example to the top. The cabinet measures 200 cm in height, 122 cm in width and 52 cm in depth.

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Four Expressive Colour Woodcuts from Japan, 19th C

Lot 13: Four Expressive Colour Woodcuts from Japan, 19th C

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Description: Colour woodcut Japan, 19th Century Tsukioka Yoshitoshi (1839-1892) - master of the Japanese woodcuts Utagawa Kunisada (1786-1865) - famous Japanese woodcut artist Framed in mat Sheet sizes: 21 x 14 to 39 x 26 cm Dimensions, framed: 35 x 25 cm to 50 x 40 cm Good Condition Provenance: Private collection from Berlin This collection of four colour woodcuts dates back to 19th Century Japan. Three of the prints illustrate the theme of the Kabuki theater, the other one was taken from a so-called Ehon storybook. The original colour woodcut by Tsukioka Yoshitoshi (1839-1892), master of the classic Japanese woodcut technique, is entitled 'Takakura no tsuki - Hasebe Nobutsura' ('The Moon of Takakura - Hasebe Nobutsura') and part of the series 'Tsuki hyakushi' ('100 appearances of the Moon'), The event, on which this picture is based, takes place in ancient Japan in the year 1180. Hasebe Nobutsura helped the prince Mochihito and his companion Yorimasa to escape from the henchmen of Taira no Kiyomori. The work is signed 'Yoshitoshi', dated '1886, 8th Month' and stamped with the red artist's seal 'Taiso'. The sheet has the Ôban format. The woodcut was issued by the publisher Akiyama Buemon, the plate was cut by Enkatsu. The colour woodcut by Utagawa Kunisada (1786-1865) shows the Kabuki actor Onoe Kikugorō (also Onoe Baiko) as yurei (dead spirit) of Kasane (after the Kabuki drama 'Kuruwakura date no oyose'). Onoe Kikugorō III (1784-1849) was the most famous impersonator of ghosts in Kabuki theater. He was often depicted in woodcuts, which heavily influenced people's visual concept of the Japanese ghost according to which these spirits have long stringy hair, no legs, their hands are limp and they wear shapeless, blood-stained clothes. They are often accompanied by a flame hovering in mid-air. The work, probably made around 1836, is titled and signed upper right 'Gototei Kunisada ga'. The publisher's name is illegible. The sheet has the Ôban format. Another woodcut by Utagawa Kunisada (1786-1865) shows a portrait of the Kabuki actor Seki Sanjûrô. The work, created in the 1830s, is signed 'Toyokuni ga Gototei'. It was published by Matsumura Tatsuemon and is stamped with the censor seal 'Kiwame'. The sheet has the Ôban format. The smaller colour woodcut is a page taken from a so-called Ehon storybook with illustrations around the topic of women's occupations. In typical manga style, the scenes are jokingly commented in simple vernacular, written in hiragana. The page dates back to the mid-19th century. The woodcuts are in good condition. They show some minimal marginal blemishes here and there as well as some discolouration along the margins. The work by Yoshitoshi is mounted on paper and lightly browned. Framed it measures 50 x 35 cm, the sheet measures 34 x 24 cm. The two works by Kunisada show tiny puncture marks along the top and right margins. Framed they measure 50 x 40 cm and 40.5 x 30 cm. The sheets measure 39 x 26 cm and 37 x 26 cm respectively. The Ehon woodcut has unevenly trimmed margins and shows a stain on the lower left margin. Framed it measures 35 x 25 cm, the sheet measures 21 x 14 cm.

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Charles Hovey Pepper Colour Woodblock Print 'Geisha', Japan, 19

Lot 14: Charles Hovey Pepper Colour Woodblock Print 'Geisha', Japan, 19

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Description: Colour woodblock print Japan, 1903 Charles Hovey Pepper (1864-1950) - American painter and graphic artist Signed 'Charles Hovey Pepper' and artist's seal with the number 3 lower right Publisher's seal and the number 5 next to the artist's seal Publisher: Kobayashi Bunshichi (Tsuta-in - ivy leaf seal) Measurements: 36 x 25.5 cm (height x width) Good condition Provenance: from a German private collection This colour woodblock print dates back to 1903 and was made in Japan by the American artist Charles Hovey Pepper (1864-1950). A geisha in a green kimono is shown arranging flowers, an art known as ikebana. She is evidently absorbed in her work and is just about to add the last flower to her arrangement of irises in a large, bulbous vase to her left. The interior shows a low table with curved legs, on which further objects are placed. All of this is portrayed in muted colours. The lower right corner of the woodblock print is signed Charles Hovey Pepper and bears the artist's seal with the number 3, as well as the seal of the publisher, Kobayashi Bunshichi (Tsuta in an ivy leaf seal), and the number 5. The work is in good condition with signs of age and wear and slight browning. The margins display slight abrasion and a tiny hole can be seen in the lower right corner. The print is 36 cm tall and 25.5 cm wide. Charles Hovey Pepper (1864-1950) Charles Hovey Pepper, born in Waterville (Maine) in 1864, was an American artist who studied in Paris from 1893 to 1895 where he began collecting Japanese colour woodblock prints. In 1903, Pepper took his first trip to Asia and spent several months in Japan. There he encountered, amongst others, Helen Hyde and Bertha Lum, who inspired him to try the genre of Japanese woodcut printing himself. Colour woodcut prints with predominantly figural scenes came about as a result of this trip. These were contracted by Japanese publisher Kobayashi Bunshichi, who had offices in Asakusa (Tôkyô) and Yokohama. Prints by Pepper are very rare and can fetch substantial prices on the market.

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Kano Korenobu attributed, 'Mount Penglai', Japan, Edo

Lot 15: Kano Korenobu attributed, 'Mount Penglai', Japan, Edo

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Description: Ink and watercolours on silk Japan, Edo Period (1603-1868) Attributed to Kano Yosenin Korenobu (1753-1808) - Japanese painter Lower right with signature and seal mark Mounted on silk brocade Image size: 98.3 x 38 cm (H x W) Scroll length: 183 cm This fine kakemono attributed to the Japanese artist Kano Korenobu (1753-1808) shows Mount Penglai, which plays a major role in Japanese mythology. Through a light mist, which stretches across the entire image, one can discern the imposing mountain peak. On the right a waterfall rushes down, the gnarled branch of a pine tree, a symbol of longevity, winds across the foreground. The evening sun sets a coloured highlight in red, emphasising the romantic mood. Washed, monochrome colour surfaces contrast with delicate dark lines - an opposition, which endows the image with an inner depth and dynamism. The scroll painting is age-related condition. The mount shows visible foxing and creases, some small holes and slight material loss on the back. The drawing is heavily browned; it shows creases and small stains on the lower right next to the signature. The jikusaki handles are made of lacquered wood. The image size is 98.3 x 38 cm, the scroll measures 183 cm in length. Lower right the work is signed and bears a seal mark. Kano Yosenin Korenobu (1753-1808) Kano Yosenin Korenobu was born in 1753 as the son of the famous Japanese painter Kano Michinobu. Already at a very early age he showed his artistic talent. In the second half of the 18th century his studio in the tradition of Tsunenobu and Chikanobu was a leading Kano studio, Korenobu was regarded as one of Japan's most influential artists. He was the 7th Head of the Kobikicho branch of the Kano School, one of the major schools of Japanese painting.

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Scroll in the manner of Kano Tsunenobu 'Crane in Bamboo', 19th

Lot 16: Scroll in the manner of Kano Tsunenobu 'Crane in Bamboo', 19th

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Description: Ink and gouache on silk Japan, 19th century In the manner of Kano Tsunenobu (1736-1813) - Japanese painter Lower left with signature and seal mark Mounted on silk brocade Image size: 103.5 x 35 cm (H x W) Scroll length: 188 cm This fine kakemono is painted in the style of the Japanese artist Kano Tsunenobu and shows a crane, a symbol of longevity, in a bamboo grove - a composition from the traditional repertoire of the Kano school. The plumage is drawn in the finest manner; the depiction of the bird, in an environment that is only hinted at, displays expressiveness. The play between white and black surfaces is broken up by a red colour highlight on the crane's forehead. In the background one can discern another crane in delicate colours. The scroll painting is age-related condition. The mount shows creases and discoloration along the top. On the back there are signs of a water damage and slight loss of material. The brocade shows significant abrasions, there are repairs here and there. In the lower area there are some small tears. The drawing is browned with minimal stains and creases. The jikusaki handles are made of stag antler. The image size is 103,5 x 35 cm, the scroll measures 188 cm in length. Lower left the work shows an artist signature and a seal mark.

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Kawabata Gyokushu (1842-1913), 'Mount Fuji', Japan, Meiji

Lot 17: Kawabata Gyokushu (1842-1913), 'Mount Fuji', Japan, Meiji

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Description: Ink and watercolour on silk Japan, Meiji Periode (1868-1912) Kawabata Gyokushu (1842-1913) - Japanese painter Lower right with artist signature and seal mark Mounted on silk brocade Image size: 122.6 x 41.3 cm (H x W) Scroll length: 199 cm Good condition This kakemono, created by the Japanese painter Kawabata Gyokushu (1842-1913), shows the inaccessible peak of Mount Fuji. The foreground is occupied by a pine forest drawn in dark ink. Behind it stretches a rocky, washed-out landscape, which eventually reveals the holy mountain in the distance. The latter seems like a mirage, standing out from the champagne-coloured background only by its snow-capped peak and delicate contours. Its mystic grandeur dominates the entire picture. The different planes, which endow the landscape with a perspectival depth, are beautifully put into contrast in traditional Japanese manner. Mount Fuji is Japan's highest mountain, located on the island Honshu. The volcanic mountain with its snow-covered top is one of Japan's most famous landmarks. It is one of the Three Holy Mountains and is widely regarded as one of the most beautiful peaks in the world. Thanks to its appealing, symmetric shape, it has long been a favourite motif in Japanese art. The scroll painting is in good condition with the usual signs of age and use, such as small creases. The mount shows folds, especially in the lower section. Here there are also colour stains. The drawing shows minor staining. The jikusaki handles are made of stag antler. The image size is 122.6 x 41.3 cm, the scroll measures 199 cm in length. Lower right the work is signed by the artist and bears his seal mark.

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Mizuta Chikuho (1883-1958), Silk Scroll Painting with Landscape

Lot 18: Mizuta Chikuho (1883-1958), Silk Scroll Painting with Landscape

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Description: Ink and watercolour on silk Japan, first half of the 20th Century Mizuta Chikuho (1883-1958) - Japanese painter Upper right with calligraphy and seal mark by the artist Mounted on silk Image size: 111.5 x 28.5 cm (H x W) Scroll length: 154 cm Good condition This kakemono, portraying a beautiful landscape motif, was created by the Japanese painter Mizuta Chikuho. It most probably shows the mythological Mount Penglai. The hilly utopian landscape, partially wrapped in wafts of mist, is depicted in delicate colours, accentuated only here and there with dark ink. The flowing contours of the rocks and the pine trees are drawn with the finest of brushstrokes. On the right one can discern a temple, a typical feature in the representations of Penglai. Two cranes - symbols of longevity - are wheeling in the sky. The scroll painting is in good condition with the usual signs of age and use, such as small creases. The drawing shows some tiny stains, it is a little wavy and browned. The jikusaki handles are made of stag antler respectively glazed ceramic. The image size is 111.5 x 28.5 cm, the scroll measures 154 cm in length. Upper right the work is signed by the artist and bears the artist seal as well. Mizuta Chikuho (1883-1958) Mizuta Chikuho was born in Osaka in 1883. He trained to be a painter under the famous literati (Nanga) artist Himejima Chikugai (1840-1928). Chikuho was known for his atmospheric sansui and landscape paintings, which were frequently exhibited and endowed with many awards.

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Kozan Toei - attributed, 'Hawk on Pine Tree', Japan, Edo

Lot 19: Kozan Toei - attributed, 'Hawk on Pine Tree', Japan, Edo

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Description: Ink and watercolour on paper Japan, Edo Period (1603-1868) Attributed to Kozan Toei - Japanese painter Lower right with calligraphy and seal Mounted on paper with brocade frame Image size: 79 x 42.2 cm (H x W) Scroll length: 161 cm This kakemono is attributed to the Japanese artist Kozan Toei. It is an impressive representation of a hawk perched on the branch of a pine tree. In quintessential Japanese manner, the gnarled branch rises up through the centre, leaving the picture and then re-enters in the upper right corner. The plumage of the vigilant predator is washed out but the individual feathers are depicted in the finest manner. Many Japanese artists of the Edo period created their works for the Japanese nobility and the Samurai. Motifs of this kind were especially popular for birds of prey were seen as a symbol of strength. The scroll painting is in age-related condition. The mount and drawing show visible creases. There is foxing on the back. The drawing shows colour loss, tears and material loss - partially restored and mainly affecting the background. The jikusaki handles are made of stag antler. The image size is 79 x 42.2 cm, the scroll measures 161 cm in length.

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12 Blue & White and Imari Porcelain Plates, Asia, 19th Century

Lot 20: 12 Blue & White and Imari Porcelain Plates, Asia, 19th Century

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Description: Porcelain, with blue under glaze painting, hand painted in colour and gold China and Japan, 19th Century Four blue and white porcelain plates and 8 plates with Imari decoration Diameter: between 21.5 and 32 cm Height: between 2.5 and 4 cm Provenance: from a Danish private collection These twelve different porcelain plates are partly from China and partly from Japan and date to the 19th Century. Four plates in blue and white are decorated with floral ornaments, such as peonies and pine trees, as well as architectural structures set in landscape. Meander borders decorate the outer rim and the center is framed by two circles. The eight colourful plates in Imari style are each bedecked with an ornamental pattern that decorates the whole surface of the plate. Flowers, flower bouquets on vases, phoenixes and other birds are depicted in cartouches. These plates have the typical Imari decor with their blue underglaze painting and iron red and gold patterns. The plates are partly accentuated with green enamel colour. Six plates carry further floral decoration on the outer walls. Six of the plates have a blossom rim and two plates have a rim with eight edges. The reverse shows a metal mount on seven plates. The porcelain plates are in an age-related condition with the usual traces of wear. Abrasion of colour as well as some small chips to the rims, manufacturing flaws and scratches can be found. The largest plate has some abrasion to the glaze. The diameter ranges from 21.5 cm to 32 cm and the height varies from 2.5 to 4 cm.

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Imari Porcelain Vase with Phoenix Decor, Japan, Meiji Period

Lot 21: Imari Porcelain Vase with Phoenix Decor, Japan, Meiji Period

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Description: Imari Porcelain Japan, Meiji Period (1868-1912) Over- and underglaze painting Polychrome painting with gold detailing Cartouche with phoenixes Mon emblem with floral decor Height: 57 cm Good condition Provenance: from a German private collection This beautifully decorated imari porcelain vase dates back to the Meiji Period (1868-1912). The vase features a bulbous body and a slender tapered neck with an accentuated foot rim. The vase is lavishly decorated in underglaze blue and overglaze iron red. Further, the vase is adorned with beautiful polychrome and golden detailing. The cartouches show flying phoenixes with lavish plumage as well as birds of paradise, sitting on blossoming branches. The body is decorated with floralmon emblems and an opulent flower decor, the lower section is adorned with blue stylised lotus flowers. The vase is in good condition with minimal traces of age and wear. There are some abrasions to the gold decor and some minor manufacturing flaws. The vase measures 57 cm in height.

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Imari Porcelain Cachepot with Sumptuous Decor, Japan, Meiji

Lot 22: Imari Porcelain Cachepot with Sumptuous Decor, Japan, Meiji

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Description: Imari porcelain Underglaze blue, iron red and gold painting with polychrome enamel colours Japan, Meiji period (1868-1912) Rich, floral decoration with gold accentuations Dimensions: 28 x 32 cm (h x dm) Good Condition This Imari porcelain cachepot was crafted in Japan during the Meiji Period (1868-1912) and features an ornate decor. The high, bulbous body sits on a narrow, round foot rim. The cachepot is painted in underglaze blue and iron red as well as other traditional Imari colours. The decor is accentuated in gold. Four cartridges with floral motifs and different architectural elements adorn the body. Popular motifs such as peonies, chrysanthemums and other blooming flowers are depicted in the background. The lower rim of the cachepot is decorated with a blue stylised leaf pattern, the slightly accentuated neck is decorated with a floral border. The flared and accentuated lip features a geometric pattern in iron red, the inner rim shows a garland of floral ornaments. The cachepot is in good condition with only slight signs of age and use. Small manufacturing flaws, some gold abrasions here and there, minor scratches and hairline cracks on the underside can be discerned. The cachepot measures 28 cm in height with a diameter of 32 cm.

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Bronze Vase with a Naturalistic Lizard, Maruki Company, Meiji

Lot 23: Bronze Vase with a Naturalistic Lizard, Maruki Company, Meiji

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Description: Bronze Japan, Meiji period (1868-1912) Underside with four-character mark 'Maruki Sei' Three-dimensional lizard Classical shape with a nonagonal body Measurements: 27 x 37 cm Very good condition Provenance: from a German private collection The elegant Japanese bronze vase dates back to the Meiji period (1868-1912) and was crafted by the renowned manufacturer Maruki Sei Kyoto. The vase, with its protruding foot rim, has a spherical nonagon shaped body. An elongated neck with steep shoulders ends in a slightly flared lip. The main focus however lies with the realistically rendered, lizard that winds its scuptural body around the long neck of the vase. The finely chiselled body of the reptile, with its scaly skin, contrasts nicely with the smooth surface of the vase. The life-like lizard is climbing up the vase, with its towering head tilted downwards eyeing the surroundings. The underside bares a framed four-character mark 'Maruki Sei' in relief. Numerous prominent bronze sculptors from the Meiji period, such as for example Akichika, were working for the Maruki Company. The bronze vase is in very good condition with hardly any signs of age or wear, however small nicks and very fine scratches can partially be found. The height measures 27 cm and the diameter measures 37 cm.

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Important Pair of Life-Size Wood Niō Temple Figures, Muromachi

Lot 24: Important Pair of Life-Size Wood Niō Temple Figures, Muromachi

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Description: Carved wood Japan, late Muromachi Period (1336-1573) Rare, museum quality pair of life-size Niō guardian figures Virtuoso carving, partially in open-work Incredibly dynamic energy Modelled after the 8.5 m high guardian statues at Tōdai-ji Temple in Nara Height: approx. 180 cm Good condition Provenance: Lovness Estate, Stillwater, Minnesota - see pictures of the Niō sculptures among the Frank Lloyd Wright interior at the photo section Most figures of a similar age are found in temples, very few are held in public or private collection. A radiocarbon (C-14) test by Radiocarbon Laboratory of the University of Arizona, Tucson dates the sculptures to in between 1467 and 1652 These life-size Niō statues are designed after the famous pair found at Tōdai-ji Temple in Nara, in the South of Japan. The latter were carved in the early 13th Century under the direction of Unkei and Kaikei, two of Japan's most lauded sculptors of the medieval period. In the same manner these figures exhibit a new sense of dynamism and realism. The heroic and powerful Buddhist statuary made during these periods better suited the feudal tastes of the military class, which had seized political power from the emperor and imperial court and thereafter ruled the nation for seven centuries. The two Niō figures were carved in the late Muromachi Period (1336-1573) with outstanding sculptural virtuosity. They are presented, in the conventional manner, with a grim face and a vigorous half naked, upper body. They stand on a simple wooden base in a dynamic contrapposto pose. The powerful body, as if it were in motion, radiates an impressive strength. This energy is created by flowing lines, powerful contours and strong three-dimensional forms. The tense muscles are exaggerated, the pulsing veins are visible all over the body - a potent contrast to the delicately carved finger and toe nails. With deeply carved folds the skirts draped around the waist swirl violently around the muscular legs, decorative ribbons flutter in the wind. Jewellery carved in relief adorns the chests, arms and ankles. The individual, expressive facial expressions, with bulging eyes, furrowed brows and flaring nostrils, bear witness to a masterful carving as it is rarely found. The closed-mouth figure is called Ungyo, who whispers 'un' or 'om', a sound meaning death. It is also called Naraen Kongo and is said to be a form of the Indian God Vishnu. Ungyo, his lips tightly pressed together, represents latent power. His open-mouthed partner is called Misshaku Kongo or Agyo. He utters the sound 'ah' meaning birth and is equated with the deity Vajrapani. In his right hand he holds a so-called vajra, a symbol of his power as the protector of Buddhism. Teeth baring Agyo represents overt power. The figures are constructed in the traditional manner from multiple blocks of wood. This technique made it possible to build large-scale statues and endow the body with the desired dynamism. Moreover the individual pieces could be repaired and replaced, like the pieces of a jigsaw. This particular pair was originally lacquered, traces are still visible today. The two statues are in good condition according to their age. Traces of the original colour are still partially visible in places such as the hair. There is evidence of ago fun layer on the surface. The wooden bodies show cracks in places, some have been repaired. Some breakages were glued here and there, there are minimal traces of glue. The ribbon above the head of the Agyo figure is broken in two places, somewhat warped and repaired. Both figures measure approximately 180 cm in height.

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Cinnabar Lacquer Snuff Bottle with Hermits, Qianlong Mark

Lot 25: Cinnabar Lacquer Snuff Bottle with Hermits, Qianlong Mark

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Description: Cinnabar lacquer China, Qing Dynasty (1644-1912) Underside with carved Qianlong six-character mark Highly detailed carving work With coloured spoon and matching stopper Height with stopper: 11.5 cm Very good condition Provenance: from an Austrian private collection This Chinese snuff bottle dates back to the Qing Dynasty (1644-1912) and was masterfully carved in cinnabar lacquer. The body, which rises from an accentuated oval foot rim, features a flattened ovoid shape with accentuated shoulders. One can discern a detailed, relief carving with hermits in a mountain landscape surrounded by various trees, waves, houses and swastika symbols. The hermits have individually carved faces and are represented with different attributes in different poses. The cylindrical neck of the snuff bottle and the matching semi-circular stopper are decorated with a lush floral decor. An original coloured bone spoon is attached to the stopper. The underside is marked with the finely carved Qianlong six-character mark. The snuff bottle is in very good condition with slight signs of age and use. Below the foot rim a small hairline crack is visible. The height is 11.5 cm including the stopper. Chinese Snuff bottles Chinese snuff bottles were used to store snuff tobacco powder. Besides this function, they were also decorative and served as a representative symbol of status. The small masterpieces reveal great craftsmanship and were made from various materials such as glass, porcelain, jade, quartz, ivory, coral, lacquer, amber or wood.

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Ivory Double Gourd Snuff Bottle, China, late Qing

Lot 26: Ivory Double Gourd Snuff Bottle, China, late Qing

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Description: Ivory China, late Qing Dynasty (1644-1912) Reticulated decoration Amber-coloured patination Height: 13 cm Good condition Provenance: from a German private collection The Chines double gourd snuff bottle was carved from ivory in the late Qing Dynasty (1644-1912). The double gourd shaped body of the snuff bottle is entirely decorated with tendrils that are partly reticulated and partly in high relief. Finely veined wine leaves as well as small double gourds, situated on each side, decorate the bulbous body. The bottle can be opened and closed with a small screw-on stopper also covered in tendrils. The snuff bottle was carved by a highly skilled craftsman and features an appealing amber-coloured patination. The snuff bottle is in good condition with slight traces of age and wear. A small chip can be found on the lid as well as some fine scratches here and there. The height is 13 cm. Chinese Snuff bottles Chinese snuff bottles were used to store snuff tobacco powder. Besides this function, they were also decorative and served as a representative symbol of status. The small masterpieces reveal great craftsmanship and were made from various materials such as glass, porcelain, jade, quartz, ivory, coral, lacquer, amber or wood.

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Soapstone Seal with two Scholars, China, Qing

Lot 27: Soapstone Seal with two Scholars, China, Qing

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Description: Soapstone China, late Qing Dynasty (1644-1912) Three-dimensional carving of two scholars Untreated matrix on the underside Measurements: 14 x 6.5 x 6.5 cm (H x W x D) Provenance: from an Austrian private collection The Chinese soapstone seal dates back to the late Qing Dynasty (1644-1912). The upper part consists of a sculptural representation of two scholars that are presented in great detail. Finely rendered facial features, the hair tide in a bun, precisely described garments and the bony back of one figure speak of the exceptional hand carving. The two happy looking figures seem immersed in an amusing conversation. The lower part of the seal as well as the matrix are untreated, which creates a nice contrast to the sculptural quality of the upper part. The seal shows some signs of age and wear. Small nicks on the edges and glued breakages on the upper part of one of the figures, as well as some chips and scratches can be found. The height is 14 cm, the width is 6.5 cm and the depth is also 6.5 cm.

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Soapstone Seal of the Community Xian with Bixie, China, Qing

Lot 28: Soapstone Seal of the Community Xian with Bixie, China, Qing

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Description: Soapstone China, Qing Dynasty (1644-1912) or even earlier With Chinese inscription on the side Incised with a seal from the borough of Xian 'Ling qui xian yin' on the underside Reticulated bixie figure Measurements: 8 x 6 x 6 cm Provenance: From a German Private Collection This Chinese signet from the borough of Xian was crafted from amber-coloured mottled soapstone during the Qing Dynasty (1644-1912) or even earlier. A bixie, also known as a pixiu, is a hybrid creature from Chinese mythology that resembles a lion. The reticulated pixie figure crowns the seal. The creature curls on top of the square signet and seems to guard it with an intimidating and terrifying facial expression. A Chinese inscription can be found on the side translating to 'rural district Lingqiu, of the year 1213 in the Jin Dynasty'. The underside bares the precisely incised seal of the community Xian 'Ling qui xian yin' ('seal of the district Lingqiu', province of Shanxi). The soapstone seal shows traces of age and wear. The bixie shows a restored continuous crack, some fine scratches and chips are also visible. The height is 8 cm, the width and the depth each measure 6 cm.

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Jade Hook and Buckle, China, Qing Dynasty

Lot 29: Jade Hook and Buckle, China, Qing Dynasty

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Description: Celadon coloured jade China, Qing Dynasty (1644-1912) Elegant carving Fine polish Beautiful translucence Length hook: 10.7 cm Diameter buckle: 8.1 cm Provenance: from a Danish private collection These two jade carvings date back to the Qing Dynasty (1644-1912). The celadon coloured jade buckle shows a sober design with a fluted decor. The hook is a real eye-catcher by contrast. Both ends are designed in the shape of dragon heads with delicately chiselled features. The underside is smoothly polished. The hook is in very good condition and shows only slight traces of age and use. It measures 10.7 cm in length. The buckle measures 8.1 cm in diameter. It has been glued in several places and shows small chips here and there.

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Three Figural Jade Amulets, China, Qing Dynasty

Lot 30: Three Figural Jade Amulets, China, Qing Dynasty

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Description: Celadon coloured jade China, Qing Dynasty (1644-1912) Elegant carving Fine polish Beautiful translucence Height: 3.3 to 5.5 cm Good condition Provenance: from a Berlin private collection This small collection includes three celadon coloured jade pendants crafted in China during the Qing Dynasty. The smallest carving depicts the He-He Er Xian twins. The pair symbolises harmony and union and is a harbinger of good luck. They are presented in the form of two pot-bellied boys. This piece also features an appealingly mottled surface. The second carving is a fabulous creature, part phoenix, part dragon, with an archaic decor coloured in black. Paired with a dragon, a symbol of the Emperor, the phoenix symbolises the Empress. The pendant in ovoid form is adorned with a finely carved, partially pierced dragon - a symbol of power and strength. The three jade carvings are in good condition and show only slight traces of age and use. The jade has an even surface - a sign of authenticity - which brings to bear the exceptional polish of the stone. The He-He Er Xian figurine shows a tiny notch on one of the feet and a chip to the backside of the double gourd. It measures 3.3 cm in height. The phoenix-dragon pendant measures 5 cm in height and the oval-shaped pendant measures 5.5 cm in height.

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Expressive Jade Figure of an Ox, China, Qing Dynasty

Lot 31: Expressive Jade Figure of an Ox, China, Qing Dynasty

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Description: White jade with mottled ochre coloured inclusions China, Qing Dynasty (1644-1912) or even earlier Pierced front legs Ox as a symbol for freedom and success Measurements: 4 x 7 cm (H x W) Very good condition Provenance: from a Canadian private collection This fine Chinese jade figure dates back to the Qing Dynasty or even earlier and was carved from white jade with a naturally mottled surface. The figurine demonstrates exquisitely fine carving. The jade is carved all around in the form of an ox, with its head turned towards its tail, the front legs are pierced. Horns, hooves, tail and face have been sculpted with precise craftsmanship. In Chinese iconography the ox is a symbol of peace and success. The jade figure is in good condition with slight traces of age and wear. The jade shows a white colour with ochre coloured inclusions and is of great quality. The height of the jade is 4 cm and the width is 7 cm.

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Jade Sculpture, 'Vase with Lingzhi and Bat', China, Qing

Lot 32: Jade Sculpture, 'Vase with Lingzhi and Bat', China, Qing

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Description: Celadon coloured jade China, Qing Dynasty (1644-1912) Elegant, partially open-work carving Fine polish Beautiful translucence Bat as a symbol of good fortune Height: 6.4 cm Very good condition Provenance: from a Hamburg private collection This small, three-dimensional jade sculpture was carved in China during the Qing dynasty. It shows an opulent floral arrangement in a bulbous vase with a tapered neck. The flowers are pierced in the finest manner, exhibiting the virtuoso craftsmanship of this Chinese jade carver. Amidst the leaves Lingzhi mushrooms, which signify eternal life, can be discerned as well as an archaic bat as a symbol of good luck. The sculpture is in very good condition and shows only slight traces of age and use. The jade has a shiny and homogenous surface - a sign of authenticity - which brings to bear the exceptional polish of the stone. The sculpture measures 6.4 cm in height.

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Rare Stone Worshipper's Head, China, Song Dynasty

Lot 33: Rare Stone Worshipper's Head, China, Song Dynasty

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Description: Stone China, Song Dynasty (960-1279) or early Ming Dynasty Peaceful, meditative facial expression Measurements (without base): ca. 14 x 9 x 10 cm (H x B x T) Good condition Provenance: from a German private collection This stone worshipper's head dates back to the Chinese Song Dynasty (960-1279) or to the early Ming Dynasty. The face has a gentle expression and the worshipper's full lips form a faint smile. Closed eyes, a wide nose and a high forehead can also be made out. A semi-circular topknot, surrounded by small dots, crowns the back of the head. The ears, with slightly elongated earlobes, have been precisely carved and round off the image nicely. The worshipper's head is mounted onto a modern base. The stone head is in good condition for its age and displays slight signs of wear. Weather marks, some loss of material to the ears and small notches are visible. The base also displays small scratches. Without the base, the object is approximately 14 cm tall, 9 cm wide and 10 cm deep. Including the base, the head is 21 cm tall.

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Bronze Guanyin with Mandorla, China, late Ming Dynasty

Lot 34: Bronze Guanyin with Mandorla, China, late Ming Dynasty

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Description: Bronze China, late Ming Dynasty (1368-1644) Reticulated mandorla and base Measurments: 25 x 14 x 10.5 cm Good condition Provenance: from a German private collection The Chinese bronze Guanyin figure dates back to the late Ming Dynasty (1368-1644). Guanyin is the Chinese goddess of compassion, who is shown here on a reticulated base in the lotus positionpadmâsana. The soles of her feet are turned upwards and the folded hands in her lap form thedhyâna mudra, the gesture of meditation. She is dressed in draped garments and besotted with precious jewellery. Her face displays charming features and her finely chiselled head is adorned with a crown. The entire depiction is framed by a reticulated mandorla incised with flames. The Guanyin figure is in good condition with a natural patina and some slight traces of age and wear. The rim of the base is slightly bent out of shape. The height is 25 cm; the width is 14 cm and the depth is 10.5 cm. Guanyin Guanyin, the Chinese goddess of mercy and compassion, counts among the most venerated figures in Buddhism and is highly respected in Asian cultures. Initially a male figure, it transformed over the centuries to a maternal goddess with wondrous healing powers who bestows solace and luck. As a bodhisattva, Guanyin denied herself entrance into nirvana when she heard the laments of the mortals and helpfully returned to earth. Her name roughly means "observer of the cries of the world".

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Bronze Figure of Zhenwu, China, late Ming Dynasty

Lot 35: Bronze Figure of Zhenwu, China, late Ming Dynasty

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Description: Bronze China, late Ming (1368-1644) Expressive figure With his attributes of the snake and the turtle Reticulate work Relief decoration Measurements: 32 x 22.5 x 16 cm (H x W x D) Provenance: from a German private collection This astounding bronze figure was crafted in China during the late Ming Dynasty (1368-1644). The figure of Zhenwu is situated on a reticulated base. Zhenwu, sometimes referred to as the real warrior or the emperor of the north, is shown in abhadrâsana position. Both legs are dangling down with one foot resting on a lotus flower. His attributes, the snake and the turtle, are situated between his legs. His left hand rests on his thigh and is forming theshunya mudra with his thumb and middle finger. His right hand is raised in front of his chest and forms theprithvi mudra, with the ring finger pointing downwards. Zhenwu is dressed in an elaborately decorated garment, showing mythical creatures in high relief. A ribbon from his garment is reticulated around his head like a mandorla. The bronze figure is in an optically appealing condition with a natural patina. There are age-related signs of wear, such as some loss of material to the base and to the back of the figure. Some decoration has been re-incised at a later stage, and there are some scratches and nicks. The height is 32 cm, the width is 22.5 and the depth is 16 cm.

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Large Bronze 'Guanyin' Figure on a Tall Pedestal, China, Qing

Lot 36: Large Bronze 'Guanyin' Figure on a Tall Pedestal, China, Qing

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Description: Bronze, lacquer with gold accentuations China, Qing Dynasty (1644-1912) Fine facial features Naturalistic base with decorative wave decor Dimensions: 99 x 58 cm (H x W) Good Condition Provenance: from a German private collection, according to statements of the consignor this piece was brought from China to Germany around 1900 This imposing bronze figure was crafted in China and dates back to the Qing Dynasty ( 1644-1912 ). It shows Guanyin, the Chinese goddess of mercy and compassion, resting on a naturalistically shaped base, which is surrounded by waves and lotus flowers. The goddess sits in lalitâsana, with the right leg placed on the thigh of the left leg. The dangling left foot is supported by an open lotus flower. A flowing robe with heavy folds as well as precious jewellery cover the body, s-shaped ribbons frame the face. Guanyin's right hand is placed on her knees and the left hand forms the bhumisparsa mudra, the gesture of touching the earth, her fingertips pointing towards the ground. With this gesture Guanyin calls the Earth as a witness to the truth of her words. The face has delicate features, half-closed eyes and a slight smile. The delicately chased hair forms a high node that is girdled by a crown. Guanyin is an incarnation of the Buddha Amitabha, who is depicted in the centre of the headdress, surrounded by a flaming mandorla. The lacquer and gold accentuations endow the figure with a particular charm. The bronze statue is in good condition with a natural patina and the usual signs of age and wear as well as abrasions to the paint and lacquer. Scratches and nicks are visible here and there. Under the lacquer coating (which was presumably renewed over the past decades) one can discern the gesso undercoat here and there. The height is 99 cm and width 58 cm. Its weight is approximately 70 to 80 kilogrammes. Guanyin Guanyin, the Chinese goddess of mercy and compassion, counts among the most venerated figures in Buddhism and is highly respected in Asian cultures. Initially a male figure, it transformed over the centuries to a maternal goddess with wondrous healing powers who bestows solace and luck. As a bodhisattva, Guanyin denied herself entrance into nirvana when she heard the laments of the mortals and helpfully returned to earth. Her name roughly means 'observer of the cries of the world'.

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Sino-Tibetan Fire Gilt Bronze of a Lama, 18th Century

Lot 37: Sino-Tibetan Fire Gilt Bronze of a Lama, 18th Century

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Description: Fire-gilt bronze Tibet / China, 18th Century Detailed and fine chasing Measurements: 20 x 12.5 x 9 cm Good condition Provenance: from a German private collection The Sino-Tibetan fire gilt bronze of a Lama dates back to the 18th Century. The religious leader is situated on a base with finely chased floral ornamentation. His draped garment covers his body and reaches over the sides of the high base. Stylized small sun motifs, tendrils and flowers elaborately decorate the base. The left hand of the Lama is placed in his lap and shows thedyana mudra, the meditation gesture. The right hand is raised in front of his chest, with the index finger and the thumb forming thevitarka mudra, the gesture of Buddhist teaching. The facial expression is content with half-closed eyes and a faint smile. Elongated earlobes remind us of his dignity and he is wearing a cone shaped hood that can be taken off. The latter is accentuated in red on the inside, like the backside of the base. The bottom is sealed with a later addition of a wooden plaque. The bronze sculpture is in good condition with a natural patina and shows only slight traces of age and wear. There is minor loss of colour and some abrasion of the gold. Some small nicks and fine scratches can be found. The vessel held in the left hand is missing. The wooden plaque that seals the sculpture from below is a later addition. The height is 20 cm, the width is 12.5 cm and the depth is 9 cm.

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Sino-Tibetan Fire-Gilt Miniature Bronze Mahakala, 18th/19th C

Lot 38: Sino-Tibetan Fire-Gilt Miniature Bronze Mahakala, 18th/19th C

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Description: Auction announcement 15. November 2013 Lot 38: This is no Mahakala statue but a Daka statue. Fire-gilt bronze Tibet / China, 18th/19th Century Richness of detail Remains of red cold-painting on the reverse Copper base incised with double vajra symbol Measurements: 5 x 4.5 x 3 cm Very good condition Provenance: form a German private collection The Sino Tibetan fire-gilt miniature bronze figure depicting Mahakala was crafted in the 18th or 19th Century. Mahakala often appears as a wrathful deity and is also known asDharmapala, the guardian of Buddhist teaching. In this case Mahakala is situated on a lotus base in anâlîdha pose with folded arms held in front of the chest. Mahakala holds the bellghanta and a thunderbolt vajra in her hands. The two contrasting objects symbolize the female and the male principle, method and wisdom. They are the symbols leading the way to enlightenment. The terrifying face of the Mahakala is facing upwards with its mouth wide open and the tongue sticking out. A five-leafed crown decorates the head and the deity's body is besotted with intricate jewellery. The finely chased hair is accentuated with red cold-painting. The fire-gilt miniature bronze is in very good condition and hardly shows any signs of age or wear. There are minimal abrasions to the gold and fine scratches. The copper base with the double vajra symbol is slightly bent out of shape. The height is 5 cm, the width measures 4.5 cm and the depth is 3 cm.

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Fire-Gilt Bronze Bixie Scroll Weight, China, Qing

Lot 39: Fire-Gilt Bronze Bixie Scroll Weight, China, Qing

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Description: Fire-gilt bronze China, Qing Dynasty (1644-1912) - or even earlier Cold-painted tail Fine engraved decor Measurements: 4.5 cm x 10 cm Very good condition Provenance: from a German private collection This Chinese fire-gilt bronze scroll weight dates back to the Qing Dynasty (1644-1912), or even earlier. In the style of the Han Dynasty (206 BC-220 AD) it is created in the shape of a so-called bixie or pixiu. The mythological creature, part lion, part dragon, was believed to cast off evil spirits. The creature stands on its four claw-like feet with its head turned. Its facial features are depicted in great detail, with the eyes wide open and the curled tongue sticking out between the teeth. The tail shows wave-shaped incised ornamentation and is decorated with red cold-painting. The tip of the tail is curled just like the tongue. The scroll weight is in good condition with slight traces of age and wear. There is some abrasion to the gold, fine scratches and some small chips are visible. The height is 4.5 cm and the length is 10 cm.

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Larger-than-life painted Wood Sculpture Buddha Maitreya, Ming

Lot 40: Larger-than-life painted Wood Sculpture Buddha Maitreya, Ming

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Description: Carved and painted Wood China, late Ming Dynasty (1368-1644) Impressive carving and sculptural work Larger-than-life Colour and lacquer coating - partially in original state of preservation Meditative facial expression Dimensions: 187 x 123 x 96 cm (H x W x D) Provenance: Private collection A radiocarbon (C-14) test by Rafter Radiocarbon Laboratory, Lower Hutt, New Zealand confirms the age of the sculpture to be approx. 395 (+/- 43) years - see picture section This magnificent, larger-than-life, figure of Maitreya , the Buddha of the future, dates back to the golden age of the Ming Dynasty (1368-1644) and was elaborately carved from wood. The Buddha figure is seated in the half lotus position with his left leg is underneath the right one. The left hand forms the varadamudra, symbolizing charity, and the right hand thevitarkamudra, the gesture of teaching and explanation. Adorned with ornate jewellery as well as a high stupa tiara and draped in elaborate princely garments, this striking Maitreya thrones in sheer majesty. The sculpture, in its imposing height, features elaborate carving work. The flowing, pastel-coloured fabrics, partially with open-work carving, cling to the pigment and lacquer coated body, which enthrals with its perfect sculptural presence. The full face shows kind eyes and a peaceful expression. One can see the big ears and elongated earlobes, a typical feature in the representation of Buddha. Historically, Maitreya is the harbinger of a new age. He shall be reborn in a period of decline to renew the Buddhist doctrine. Maitreya is believed to be a Bodhisattva, one who refuses entry into nirvana out of a compassionate desire to help others. Maitreya's cult developed in India around the 3rd century then spread throughout China and Japan where he is also shown in the figure of Budai or Hotei, the 'Laughing Buddha'. The sculpture is in a condition according to its age. The surface shows visible colour flaking and craquelure all-over, also to the face. There are age cracks, especially on the back. In the lower part of the legs and on the left arm there are several breakages and material losses. The original colour is only partially preserved, traces of subsequent layers of paint can be discerned. The gold lacquer coat and the tiara are also of a later date. However, these aspects do not lessen the overall aesthetics of this imposing figure. A professional conservation and restoration is advised. The sculpture measures 187 cm in height, 123 in width and 96 cm in depth.

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Tall Bronze Vase in Archaic Style, China, Qing

Lot 41: Tall Bronze Vase in Archaic Style, China, Qing

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Description: Bronze China, Qing Dynasty (1644-1912) Archaic in form and decor Underside with nine-character mark Height: 48 cm Good condition Provenance: from a German private collection This lavishly decorated archaic bronze vase, dating back to the Qing Dynastie (1644-1912), is a so-called hu vessel. The bulbous body rests on an accentuated foot rim. It is adorned with an elaborate relief decor with meander patterns, circles, tendrils and taotie masks. Further, the vase is decorated with protruding webs and cicada ornaments. Two taotie masks with rings are attached to the shoulders. The pattern of the body is mirrored along the neck of the vase, which ends in a flared lip. The bronze vase is in good condition with a natural patina and traces of age and wear. There are some manufacturing flaws, scratches and dents (some of them restored). Underneath, the vase shows a nine-character mark. The measures 48 cm in height, the diameter of 103.5 cm.

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Small Bronze Vase with Archaic Frieze, China, Qing Dynasty

Lot 42: Small Bronze Vase with Archaic Frieze, China, Qing Dynasty

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Description: Bronze, patination China, Qing Dynasty (1644-1912) Archaic relief decor Height: 18 cm Very good condition Provenance: from a German private collection This archaic bronze vase with a charming patina dates back to the Qing Dynasty (1644-1912). The vase belongs stylistically to the group of hu vessels and is rendered in the style of the Shang Dynasty (1766-1122 BC). On a small foot rim rests a bulbous body with a high plain shoulder. A frieze of meander patterns and phoenix motifs adorns the vase. On both sides two corrugated handles are attached. The upper and lower edge is decorated with a trim of semi-circles. The plain surface of the wall is patinated with a malachite green and iron red patina. A long and at the lower end slightly accentuated neck sits on the shoulder and ends in a large, protruding lip. The archaic bronze vase is in very good condition with hardly any traces of age and wear. Its height is 18 cm, its perimeter 45 cm.

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Partly Gilt Censer in Bronze, China, Qing Dynasty

Lot 43: Partly Gilt Censer in Bronze, China, Qing Dynasty

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Description: Partly gilt bronze China, Qing Dynasty (1644-1912) Reticulated lid Handle in the shape of a foo lion Curved handles and feet Distinctive patina and a nice contrast between gold and bronze Measurements: 17 x 15.5 cm (H x W) Good condition Provenance: from a German private collection The Chinese partly gilt bronze censer was crafted during the Qing Dynasty (1644-1912). A square body rests on curved gilt feet. Floral relief decorations in bronze coloured cartouches adorn each side of the vessel. The interplay of gold and bronze coloured elements creates an elegant appeal. The protruding neck is decorated all-around with a bordure of stylized lotus leaves. The reticulated lid shows floral ornamentation and a towering foo lion as the handle. The pearl held in the lion's left paw symbolises the unity and power of the empire. In Chinese culture censers have always been of great importance and have been manufactured since the Zhou Dynasty (ca. 1046-256 BC). They served to perfume clothes and rooms and were also used during spiritual ceremonies. The censer vessel is in good condition with signs of age and wear. It shows a distinctive patina. There is some abrasion of the gilding; there are a few small scratches and some chips. The handles and know are a little loose. The height is 17 cm and the width is 15.5 cm.

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Bronze Censer with Dragon Handles, China, Qianlong Mark

Lot 44: Bronze Censer with Dragon Handles, China, Qianlong Mark

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Description: Bronze China, Qing Dynastie (1644-1912) Six-character mark from the Qianlong Period (1736-1795), surrounded by dragons, on underside Partially open-work Depiction of a dragon in high relief Three curved feet Further dragons Measurements: 10 x 14 x 13 cm (height x width x depth) Good condition Provenance: from a German private collection This bronze censer was crafted in China and dates back to the Qing Dynasty (1644-1912). The censer's bulbous body is supported by three curved feet and decorated with depictions of dragons and lingzhi mushrooms, a symbol of immortality, in high relief. The partially open-work handles take the form of two dragons with slender, scaly bodies. The upper lip is slightly curved outwards, emphasising the object's sweeping form. A retrospective six-character mark from the Qianlong Period (1736-1795), also surrounded by dragons, is located on the underside. This censer is in good condition with a natural patina and slight signs of age and wear. The object is 10 cm tall, 14 cm wide and 13 cm deep.

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Fire-Gilt Bronze 'Ding' Censer, China, 17th Century

Lot 45: Fire-Gilt Bronze 'Ding' Censer, China, 17th Century

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Description: Fire-gilt bronze China, Qing Dynasty (1644-1912), 17th Century Retrospective six-character mark of the Xuande period (1426-1435) Tripod censer Two curved handles on each side Fine patina Measurements: 8.5 x 11 cm Good condition Provenance: from a German Private Collection The fire-gilt bronze censer was made in 17th Century China during the Qing Dynasty (1644-1912). Its archaic shape classifies the censer as a ding vessel. The jar stands on three cone shaped feet above which sits the bulbous corpus. The protruding lip, merging into the handles, accentuates the shape of the censer. The fine patina adds to the appeal of the plain vessel. The bottom bares a Xuande six-character period mark (1426-1435) from the Ming Dynasty (1368-1644). The censer is in good condition with a natural patina and slight traces of age and wear. There are a few chips and scratches, as well as minor abrasion to the gold. The height is 8.5 cm and the diameter is 11 cm.

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Iron Bell with Figural Dragons, China, Qing Dynasty

Lot 46: Iron Bell with Figural Dragons, China, Qing Dynasty

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Description: Iron China, Qing Dynasty (1644-1912) With relief inscriptions and floral design Handle in the form of a stylised dragon Four resonance holes Measurements: 56 x 41 cm (height x diameter) Good condition Provenance: from a Danish private collection This iron bell was crafted in China during the Qing Dynasty (1644-1912). The bell has a handle in the form of a stylised, fire-spitting dragon, via which it can be suspended. Four large resonance holes, connected by a dynamic wave design, can be found in the upper shoulder of the bell. Relief inscriptions depicting the twelve earthly branches - the old Chinese numbering system - are located below. Amongst others, the name of the Shanxi Provence (Northern China) can be read. The lower part of the bell is decorated with floral ornaments in relief. Eight segments shape the lower rim of the bell. The bell is in good condition with a natural patina and age-related signs of wear. Some corrosion, smaller manufacturing marks and minimal loss of material are visible. The bell is 56.5 cm tall and has a diameter of 41 cm.

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Large Figurative Cloisonné Vase in Elephant-Form, Qing

Lot 47: Large Figurative Cloisonné Vase in Elephant-Form, Qing

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Description: Gilded copper, cloisonné China, Qing Dynasty (1644-1912) Archaic decor Excellent quality Jingtai blue Dimensions: 45 x 35 cm (H x W) Good Condition Provenance: from a Swiss private collection This cloisonné vase in the shape of an elephant dates back to the Qing Dynasty (1644-1912). It is made of gilded copper and cloisonné and is extensively adorned with an archaic decor depicting vines and stylised dragons, phoenixes and lotus flowers. The vase has a funnel-shaped, removable neck decorated with sculptural mascarons. The lower section of the vase and the back of the elephant are adorned with a wreath of lotus leaves. The elephant has a tilted head with a curved trunk and a delicately shaped tail. The figural handles of the vase and some details on the elephant's body feature a prominent gilding and the Jingtai blue colour endows the piece with an incredible elegance. The vase is in good condition with a natural patina and light signs of age and use. Restorations along the opening on the back as well as the mouth, small material losses and manufacturing flaws can be discerned. The vase measures 45 cm in height and 35 cm in width.

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Box and Cover with an Archaic Cloisonné Decor, China, Qing

Lot 48: Box and Cover with an Archaic Cloisonné Decor, China, Qing

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Description: Auction announcement 15. November 2013 Lot 48: This box was also fire-gilt. Bronze, cloisonné China, Qing Dynasty (1644-1912) Archaic and floral decor Jingtai blue of exceptional quality Measurements: 12.5 x 9.5 cm Good condition Provenance: from a German private collection This lidded Chinese box was crafted in the Qing Dynasty (1644-1912) in bronze with cloisonné enamel. The box has a cylindrical shape with an overlapping lid and an accentuated base. The center of the wall is decorated with an archaic floral ornament, which is formed from jingtai blue, red, green and white cloisonné. The lid is decorated all around with a band of ruyi symbols, above which another ornamented band of half circles and ribbon like elements sits. The box is in good condition with a natural patina and signs of age and wear. There are minor manufacturing flaws and there is some loss to the cloisonné, especially on the lid. The height is 12.5 cm and the diameter measures 9.5 cm.

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Cloisonné Double Gourd Vase, Qing/Republic Period

Lot 49: Cloisonné Double Gourd Vase, Qing/Republic Period

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Description: Partly gilt bronze with polychrome cloisonné China, late Qing Dynasty (1644-1912) / Republic period (1912-1949) Decorative flora and fauna ornamentation Reticulated repoussé handles in the shape of phoenixes Height with lid: 30 cm Good condition Provenance: from an Austrian private collection This Chinese partly gilt bronze vase with cloisonné polychrome decoration dates back to the late Qing Dynasty (1644-1912) or the early Republic period (1912-1949). The double gourd vase is entirely decorated with motifs from the flora and fauna. The bulbous body of the vase rests on an oval foot rim that is decorated with a tendril ornament. The two cartouches on the lower part of the vase are decorated with a colourful parrot on a blossoming branch and rose and yellow coloured peonies with a butterfly respectively. The upper section shows birds and butterflies amidst plum and magnolia blossoms. The rest of the body is decorated with cloisonné flowers and tendrils. Two reticulated repoussé handles in the shape of phoenixes are attached to the accentuated shoulders. The vase has a small lid with a curved bronze handle. The vase is in good condition with slight traces of age and wear. There are hardly noticeable traces of adhesive on the handles, as well as small nicks and scratches. The height with lid is 30 cm.

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Elegant Two-Tier Cinnabar Lacquer Flower Stand, Qing Dynasty

Lot 50: Elegant Two-Tier Cinnabar Lacquer Flower Stand, Qing Dynasty

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Description: Wooden body and carved lacquer work in distinctive cinnabar red China, late Qing Dynasty (1644-1912) High-quality craftsmanship Richly carved with ornamental motifs Height: 138 cm Dimensions upper shelf: 27 x 26.5 cm Dimensions lower shelf: 33 x 32 cm Good condition Provenience: from a German private collection This noble Chinese cinnabar lacquer étagère dates back to the late Qing Dynasty and was crafted in the carved lacquer technique. During this process multiple coats of lacquer were applied in order to create a layer of about one centimeter thickness. The fine patterns were then carved into the surface. The étagère or flower stand features high, slender legs, which are partially decorated with an ornamental pattern. The upper, curved shelf shows an archaic cloud motif in green, red and yellow on a dark background. The lower shelf shows an archaic symbol. The rims are each adorned with a decorative meander trim. The flower stand is in good condition with the usual traces of wear and age. Minor colour losses and material abrasions along the edges as well as minor scratches to the surface are evident. The legs are a little unstable. It measures 138 cm in height. The upper shelf measures 27 x 26.5 cm, the lower shelf: measures 33 x 32 cm. Chinese cinnabar lacquer Extravagant art objects made of lacquer were manufactured in China over many centuries. The material is obtained from the bark secretion of the lacquer tree, to which colour pigments are added. The most intense and striking colour is the famous cinnabar red. Through lengthy and tedious handiwork, the lacquer is applied in countless layers on a wooden core. Every layer must first dry before the next one can be applied. Once the desired thickness is attained, the lacquer is carved with a knife and polished. This process, depending on the size of the object, results in a manufacturing duration between several months and several years.

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