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Asian Art

by Auctionata


100 lots with images

June 14, 2013

Live Auction
100 Lots
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Signed Japanese Bronze Sculpture 'Mother and Child', Meiji

Lot 1: Signed Japanese Bronze Sculpture 'Mother and Child', Meiji

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Description: Bronze with dark patinationJapan, Meiji period (1868-1912)Artist's signature on the plinth in an oval cartoucheExpressive mother-child sceneHeight: 37 cmExcellent condition This dark patinated Japanese bronze sculpture dates to the Meiji era and shows a mother carrying her child on her back. The two seem to be on their way to a tea ceremony as the young woman is holding a tea pot in her right hand. She is also holding a small sickle in her left hand, possibly to stoke the coals. The fine detail of the manual artistry is particularly attractive - evident, for example, in the elaborately sculpted hair or the flowing folds of their clothes. Above all, this bronze sculpture is remarkable for its gripping representation of love and intimacy between a young mother and her boy; he is playfully grabbing for her ear; she smiles lovingly in response. This bronze is in very good condition and shows very few traces of age and use. It shows a malachite-coloured patina in places, adding to the overall charm of this artwork. The figure is set on a bronze base, which carries the artist's signature inside a oval cartouche in high relief. The bronze sculpture measures 37 cm (height) and the plinth measures 14 cm in diameter.

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Signed Japanese Sword with Accessories, Muromachi Period

Lot 2: Signed Japanese Sword with Accessories, Muromachi Period

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Description: Steel, iron, lacquer, wood, shark skin and bronzeJapan, Muromachi period (1336-1573)Signed 'Ieyoshi Saku' on the tangWith a certificate by the NBTHK - the Nihon Bijutsu Token Hozon Kyokai SocietyTotal length: 73 cmVery good condition This Wakizashi 脇差, meaning 'worn at ones side' in English, is a so-called short-sword from Japan and dates to the Muromachi Period (1336-1573). It is not exclusive to Samurai as it has a shorter blade; it could be used by noblemen as well as by reputable citizens. The blade is in hira zukuri shape with a tori zori curve of blade. The hamon has an o midare ba pattern and there are three mekugi ana holes on the nakago, the tang. The blade and tang have been shortened (o-suriage and machi okuri). The tang carries the sword smith's signature of 'Ieyoshi Saku', who was a smith from Kachi in the Kaga province. The sword is shipped with a simple Shirasaya (including a simple wood sheath) as well as a lacquered mount including an iron Tsuba, bronze Menuk and iron Fuchi Kaschirae. The handle is covered with shark skin and features a silk mount. The black sheath can be worn with a crème coloured silk string on a belt (obi). The sword comes together with a certificate by the NBTHK - the Nihon Bijutsu Token Hozon Kyokai Society. The blade comes in a very good age-related condition. The 19 th century mount also displays slight traces of age and wear. The length of the nagasa is one shaku, 4 sun and 8 1/2 bu - which refers to 45 cm. The total length, mounted is 73 cm.

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Japanese Palace Vase with matching Pedestal, Meiji Period

Lot 3: Japanese Palace Vase with matching Pedestal, Meiji Period

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Description: Porcelain vase, hand-painted with multicolored enamels and goldWood, carved and lacqueredJapan, Meiji Period (1868-1912) respectively China, Qing Dynasty (1644 - 1912)Palace vase with dragons and Shishi lionsImari colour paletteFinely carved wood pedestal with reddish lacquer polishHeight of the vase: 95 cm; height of the pedestal: 60 cm This elegant Japanese palace vase, made during the Meiji Period is of exceptional quality. It is presented on a fitting carved pedestal made of lacquered wood which originates from China. The elegant porcelain has been decorated with detailed overglaze enamel and gold painting, which, due to the thick coating, is partially in high relief. There are paintings of dragons, phoenixes and Shishi liondogs on the body and cranes in medallions on a blue background. Cranes can also be found at the base of the vase; also captured in medallions. The mouth of the vase has been painted with flowers and butterflies - even on the bottom is paintwork. Iron red and gold dominate the vase - the colour palette of Imari porcelain. The reddish lacquered pedestal may serve to present the vase appropriately; it featured curved legs, connected with a carved shelf on the lower third. The connectors of these grooved decorations are further emphasized by three-dimensionally carved, flying swallows. The table's surface is somewhat elevated and framed by a meander pattern. The vase is visually in good condition, but the base has been restored. The base rim has been replaced, the paintwork on the bottom has been partially restored as well. There is a crack running up the side of the vase, where unobtrusive repair marks can be seen. The painted black frame of one of the medallions above the crack has been restored. The gilding is abraded in places, especially on the neck. The pedestal shows clear traces of age; the wave-like decorations as well as the sparrows show material loss, as does the ridge underneath the surface. There are scratches on the surface and two large, circular discolorations of the lacquer, which are both invisible when the vase is set upon it. The vase measures 95 cm (height) and 48.5 cm (diameter of mouth). The pedestal is 60 cm high and the top measures around 48 x 48 cm, with a plate diameter of 39 cm.

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Folding Screen with Japanese Embroideries on Silk, around 1900

Lot 4: Folding Screen with Japanese Embroideries on Silk, around 1900

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Description: Inlaid wood, brass; silkJapan and Europe, around 1900Original Japanese silk embroideriesEuropean wood frameMeasurements: 160 cm (height); 189 cm (width)Good condition This highly elegant three-part folding screen was made around 1900 and combines highest quality Japanese craftsmanship with that of Europe. The wood frame comes from Europe and is accentuated with fine inlays of brighter and darker woods. The delicate, tapered legs are set with fitted brass sabots. The three panels of this folding screen are a covered by black silk fabric, embroidered with the finest of silk threads from Japan. The outer two show branches in full bloom; left, a shower of wisteria blossoms over the black background; right a delicate branch with cherry blossoms. Both show exotic butterflies fluttering about. The middle panel shows two cranes in shallow waters. These impressive birds have spread their wings in order to clean them. The water, hinted at with silk threads, runs towards the lower section, where glimmering water lilies grow. The natural gleam of the silk threads endows the plants, blossoms and animals with a shimmering exterior that makes them seem alive. The folding screen is in good condition with only very minimal flaws. The embroidery has lose threads in some areas; especially the left panel at its delicate gold-brownish branches and butterflies. The black silk fabric is not fully tensed, so there are slight creases in some places. The wood frame is in good condition. The posts show slight chipping and repair. The rear of the panels is covered with silk, in chatoyant black to olive-green. The folding screen is 160 cm high, including the reticulated carved crown above the central panel. It is 189 cm wide, fully unfolded and each panel separately measures 63 cm (width).

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Rare Photo Album 'Japanese Genre Scenes', Meiji Period

Lot 5: Rare Photo Album 'Japanese Genre Scenes', Meiji Period

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Description: Hand-coloured albumen printsLacquer coverJapan, late Meiji period (1868-1912)51 prints in totalAlbum measurements: 36 x 28 x 8 cmMeasurements of the photos: around 20 x 26 cmMost prints are in good condition This album dates to the late Meiji period (1868-1912) and it gives an impression of the lifestyle and daily routines of Japanese people around the turn of the century. The album was apparently made for a European, who had it made as a souvenir in Yokohama. He can be seen in full Japanese traditional dress on the first picture of the album. The prints are unique and remarkable documents of a time when travel was still troublesome; when it was important to capture a lively impression of far and exotic lands. The hand colourations still shine with exuberant intensity. The prints show Samurai in armour or on horseback; Geishas playing music or dancing; rice farmers and curious scenes such as a blind massage therapist at work, or a simulated sedan chair accident. The album shows heavy traces of age and wear, particularly on the lacquered envelope. The inlays on the front are missing and the back shows abrasion of the lacquer and material loss. The hand coloured prints are in very good condition with only slight traces of age and wear - some pictures have faded slightly. Many prints feature a short caption in English. The album measures 36 cm (length) by 28 cm (width) and 8 cm (height).

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2 Expressive Watercolours 'Herons among Reeds', Taisho / Showa

Lot 6: 2 Expressive Watercolours 'Herons among Reeds', Taisho / Showa

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Description: Ink and water colour on paper, mounted on paperJapan, late Taishō (1912-1926) or early Shōwa period (1926-1989)Artist's signature and seal 'Nogami Shunsai'Very fine, naturalistic and lively depictionSugi (Cryptomeria) wood frameImage size: 23.5 cm x 60 cm eachMeasurements in frame: 39 x 76 cm each This pair of Japanese, watercolour ad ink paintings dates to the late Taishō period (1912-1926) or the early Shōwa period (1926-1989). They feature a naturalistic but somewhat amusing interpretation of two herons with bright white plumage. The landscape is shown only schematically with a bluish fog and gentle waves in the water. The expressive colour in the bird's eyes is telling: they have spotted prey. If the two works are hung up as a pair, they are in each other's field of view. The reeds are painted with expressive strokes; they create an attractive contrast with the birds' bright plumage. Cranes are a sign for long life in Japan. Both works show age-related signs of wear. The paper has browned and shows partial foxing. Both paintings are signed and display the artist's seal of Nogami Shunsai. The wood frames show extensive traces of age and wear and have evident material loss. The watercolours measure 39 x 76 cm in frame and 23.5 x 60 cm without it - each.

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Signed Ink on Silk Painting, Scenic View of Fuji, Meiji Period

Lot 7: Signed Ink on Silk Painting, Scenic View of Fuji, Meiji Period

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Description: Ink, watercolour on silkJapan, Meiji Period (1868-1912)Signature in gold on frameIn its original frame with silk brocade matMeasurements in frame: 100.5 x 158.5 cmProvenance: from the estate of a diplomat This painting from the estate of a diplomat is a stately example of Meiji period artistry. The large-format painting shows the sacred Mount Fuji, surrounded by a light veil of fog at its foot. The foreground shows two Japanese wood cabins, nestled in a thick forest. This mystical landscape is populated by small stylized figures. The colour palette is grey, monochrome, applied with elegant brush strokes, creating quite a romantic mood. The dark wood & lacquer frame and the silk brocade mat are original to the silk painting. The frame displays a signature in gold. Mount Fuji is Japan's highest mountain, located on the island Honshu. The volcanic mountain with its snow-covered tip 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 pleasing, symmetric shape, it has long been a favourite motif in the arts of Japan. The painting is in good condition. The silk is mounted on a wood frame, which is labeled with pieces of paper on the reverse. The paper has holes and partial material loss. The frame shows usual traces of age and wear with chipping here and there. The mat has yellowed with age and is somewhat stained. The artwork measures 100.5 x 158.5 cm in its frame and 94 x 152.5 cm without it.

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Shibayama School Eggplant-shaped Ivory Erotica, Meiji

Lot 8: Shibayama School Eggplant-shaped Ivory Erotica, Meiji

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Description: Ivory with inlays of mother-of-pearl, turquoise, coral and hornJapan, Meiji period (1868-1912)Shibayama SchoolSigned on the reverseErotic at second glanceHeight: 10 cmRarity!Very good condition At first glance, this small eggplant-shaped ivory carving seems to be simply a decorative Japanese carving. The fruit has a long stem showing the remains of brown staining. It is covered with multiple insects of different sorts, all composed of tiny inlays. Turned around, the fruit turns into a naked woman's torso; the carving is an erotic version of so-called 'doctor's lady' figures; these were nude females, often ivory carvings, with which female patients could point out an ailment to a doctor, without having to undress themselves. Erotic Shibayama artworks are extremely rare and are in high demand with collectors. This small sculpture, carved from a single piece of ivory, is in good condition. It shows slight traces of age and use. The ivory has an appealing light grain; the lower and rear display few age hairlines. The left buttock carries the chiselled artist's signature highlighted in red. The carving is 10 cm high. Shibayama Shibayama is an inlaying technique from the 18 th and 19 th centuries, named after a Japanese artist family. The technique revolves around inlayed natural materials like mother-of-pearl, turquoise, coral, horn or wood - on ivory. This type of artistry was at the peak of its popularity in the 19 th century. Objects of all sorts - from cases to jewellery boxes and swords - were decorated using this technique. Meiji-period artworks are particularly in demand with collectors.

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Signed Ivory Okimono with God of Luck Hotei, Meiji

Lot 9: Signed Ivory Okimono with God of Luck Hotei, Meiji

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Description: Ivory, carved out of a single pieceAccents in black stainingJapan, Meiji period (1868-1912)Artist signature "Hokei" in a cartouche on the undersideFinely chiselled decorationsHeight: 16 cmVery good conditionProvenance: from a private collection in Florida/USA This Japanese single-piece ivory okimono carving shows Hotei, the Japanese god of contentment and bliss. He is one of the seven Japanese Lucky Gods (Shichi Fukujin), mostly represented, as is the case here, as a monk with large belly. Hence, he is sometimes called 'laughing Buddha'. He carries a bag with gifts on his back, which he gives to children and the poor and in his left hand his symbol, the fan. The sculpture is very finely carved; his squinting eyes of brown and black as well as the fine crafting of surface patterns on body and attire endow the sculpture with a special quality. The back is decorated by three elegantly chiselled flowers; the seams of his robes and the fan too, show finely incised carved decorations. The okimono is in very good condition, save a very fine age-related hairline on the upper part of the head. The ivory displays a honey-coloured patina in some places. The underside reveals the artist's signature "Hokei" inside a cartouche. The sculpture looks to have been previously mounted on a base as the bottom shows remnants of color. The okimono is 16 cm high. Okimono The literal translation of the word 'Okimono' is 'put thing', meaning 'object for display'. The term denotes Japanese art carvings, which developed in the 19th century out of the Netsuke craft. The reason for this was an incisive change in Asian everyday fashion. European clothing became chic and ultimately replaced the Kimono, to which Netsuke were worn. The now unemployed Netsuke artists began to make larger objects, which were very popular abroad as well.

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Signed Ivory Sculpture 'Farmer with Son', Japan, Meiji

Lot 10: Signed Ivory Sculpture 'Farmer with Son', Japan, Meiji

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Description: Ivory, carved out of a single pieceAccentuations with black stainingJapan, Meiji Period (1868-1912)Artist's signature on the underside in embedded lacquer cartoucheBeautiful chiselling on the garmentsHeight: 25 cmVery good condition This Japanese sculpture, showing a farmer and his son, was skilfully made from a single piece of ivory. The father is laughing cheerfully whilst holding a bundle of grapes and leaning on a sickle. All the while his son is secretly eating from the grapes. The two look to be taking a tea break after an exhausting harvest; the boy is carrying a pot for the tea ceremony. The figures' garments are expertly chiselled - particularly the Kimono and trousers of the father display rich decorations with willow branches and extremely fine patterning. On his belt, the man carries a small pouch and a pipe bag - a so-called Kiserusutzu. The faces, too, have been carved in quite exquisite detail - their open mouths revealing tiny, finely carved teeth. The eyes, eyebrows and hair are stained in black. The ivory sculpture is in very good condition. It shows slight traces of age such as small hairlines. The artist's signature is captured in lacquer inside a cartouche on the underside. The ivory displays a slight honey-coloured patina in some areas. The sculpture is 25 cm high.

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Delicately Painted Porcelain Figure

Lot 11: Delicately Painted Porcelain Figure "Ebisu & Daikoku", Meiji

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Description: Porcelain, hand-paintedJapan, Meiji period (1868-1912)Gold painted detailsColourful representation with classical Japanese motifsHeight: 22 cmVery good condition This small porcelain figurine from the Meiji period shows two of the seven Japanese gods of good luck (Shichi Fukujin). The smaller man is Daikoku, god of wealth; somewhat grim-faced he swings his mallet, spreading luck and wealth. Next to him is Ebisu, laughing cheerfully with an open mouth, exposing cast-on teeth; Ebisu is the god of fishermen, often depicted as son or apprentice of Daikoku. He is holding a fan with pine branch decorations, and he is wearing a bonnet with a tassel, thrown forwards. The pair of gods is painted with multicolored enamels and gold colour above the glaze. Both gods are represented with long earlobes - a sign of their immortality. They are wearing clothes with beautiful pine branch and bamboo-leaf decorations and Mon crests - each with either a crane or a turtle. Their expressive faces are worthy of special note. The porcelain group is in very good condition. The colours are well preserved; there is only light abrasion on the gold paint and on Daikoku's boots. The figure measures 22 cm (height).

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Pair of Cloisonné Vases in Namikawa Yasuyuki Style, Meiji

Lot 12: Pair of Cloisonné Vases in Namikawa Yasuyuki Style, Meiji

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Description: Copper and cloisonné enamelJapan, around 1890Meiji period (1868-1912)In the style of Namikawa YasuyukiHeight: 30 cm eachGood condition This pair of cloisonné vases dates to the Meiji period and displays elaborate cloisonné work. The body of each vase has four depictions, crafted with a slight variance between the two vases. The first facet shows a Suzume sparrow in a cherry blossom tree; the second shows a butterfly, fluttering about a voluptuous bunch of flowers; the third facet shows two cranes surrounded by reeds; the fourth side is decorated by a picture of a pair of sparrows in an arrangement of iris and chrysanthemum flowers. The backgrounds are coloured rose respectively light green. The four scenes are surrounded by a pattern of blossoms on black background with swirl decorations. The delicate, floral execution is reminiscent of the well-known Japanese cloisonné artist Namikawa Yasuki (1845-1927). The two vases are in good condition for their age with only slight signs of use. One of the vases shows a small chip around which hairlines have formed. The vases measure 30 cm each in height.

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White Jade Figure in shape of an oxen, China, Qing Dynasty

Lot 13: White Jade Figure in shape of an oxen, China, Qing Dynasty

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Description: White JadeChina, Qing Dynasty (1616-1911) - 18th/19th CenturyElegant carvingFine polish and oily surfaceBuffalo figure as a symbol of peace and successMeasurements: 5 cm (height); 5 cm (length)Very good conditionProvenance: bought by a German collector in Beijing in the early 1980s This white jade sculpture dates to the Qing Dynasty (1644-1912) in the 18 th or 19 th century. It has been sculpted to both sides. It demonstrates exquisitely fine carving. The jade is shaped like an ox, apparently curled up peacefully to sleep. Horns, hooves, tail and face have been sculpted with precision craftsmanship. Chinese symbolism takes the ox to mean peace and success. The white jade figure is in very good condition and shows only slight traces of age and wear. The jade has a showy white colour and is of translucent quality. The surface is shiny and oily, a sign of authenticity - which brings to bear the exceptional polish of the stone. It measures 5 cm by 5 cm.

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White Jade Pendant with Cai Shen, God of Wealth, 19th Century

Lot 14: White Jade Pendant with Cai Shen, God of Wealth, 19th Century

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Description: White jadeChina, 19th centuryElegant carvingFine polish and oily surfaceGod of wealth - Cai ShenMeasurements: 6 x 2.7 cmVery good conditionProvenance: bought by a German collector in Shanghai in the early 1960s This white jade pendant dates to the 19 th century in China. It shows Cai Shen, the Chinese God of Wealth, recognizable by the coins on his belt. The countless details chiselled into the jade - beard, hands, attributes and folds of his dress - have been worked into the jade to both sides. Cai Shen's face is dressed with a smile. Simply by looking at the jade one feels, in the truest sense of the word, enriched. There are delicate areas of reticulated patterning and two tiny holes for suspension on a string. The white jade pendant is in very good condition and shows only slight traces of age and wear. The jade is of an extraordinary translucency and white in colour with few ochre inclusions. The polish and oily surface of the stone shows it to be an authentic piece. It is 6 cm long and 2.7 cm wide. Cai Shen Cai Shen, the Chinese god of wealth, also known as Zhao Gongming (Chao Kung-ming) or Bi Gan (Pi-kan) was a Chinese folk hero who was later apotheosized by his admirers. He is often called upon at Chinese new-year's festivities; shown riding a black tiger, carrying a gold staff or iron weaponry in his hand.

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Large Celadon-Coloured Jade Brush Rest, China, 18th Century

Lot 15: Large Celadon-Coloured Jade Brush Rest, China, 18th Century

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Description: Celadon-coloured JadeChina, 18th centuryFine and detailed carvingPartial reticulationFine polish and oily surfaceExceptional sizeMeasurements: 16.5 x 6 cmVery good conditionProvenance: bought by a British collector in Beijing, around 1950 This brush rest of celadon-coloured Jade dates to the 18 th century. It has been chiselled to both sides and demonstrates impressive carving, rich in detail. It features three-dimensional peaches and Ling Zhi mushrooms, symbols of luck and immortality. An elaborate mode of craftsmanship was necessary for the making of this excellent Jade sculpture The brush holder was originally used by scholars and will make any collector's heart leap for joy. The brush rest of celadon-coloured jade is in almost perfect condition; the material is of translucent quality and shows only slight traces of age and use. The fine polish and oily surface are marks of quality for jade; only original pieces demonstrate these properties. The artwork measures 16.5 cm (length) by 6 cm (width).

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Four Jade Ornaments in White and Green, China, Qing Dynasty

Lot 16: Four Jade Ornaments in White and Green, China, Qing Dynasty

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Description: Jade (nephrite) in white and greenChina, Qing Dynasty (1644-1912), or earlierJue EarringsFinger ornaments - archers' ringsMeasurements: 4 x 3.5 cm and 3 x 2.5 cmGood condition These four jade ornaments date to the Qing Dynasty (1644 - 1912) or even earlier, and come from China. They are crafted from the popular spinach green respectively white jade. Both finger ornaments are actually archer's rings; they have three small holes each. The two green pieces of Jade are shaped like Jue earrings. The wedge-shaped opening could be used to attach the jewels to an earlobe. These enchanting jade ornaments are in good condition with only slight traces of age and wear. The surfaces of the finger ornaments have an oily coat and well-polished appearance; traits of authenticity for Jades like these. The Jue Jade pieces show a matted, slightly calcified surface. The earrings measure 4 cm (height) by 3.4 cm (width); the finger ornaments measure 3 cm (height) by 2.5 cm (width).

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Finely Chiselled Jade, Shaped like a Butterfly, 19th Century

Lot 17: Finely Chiselled Jade, Shaped like a Butterfly, 19th Century

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Description: Jade (nephrite)China, Qing Dynasty (1644-1912) - 19th CenturyWhite colour with grey inclusionsAppealing, delicate craftsmanshipFine polish and oily surfaceMeasurements: 3.3 cm by 5.5 cmVery good condition Provenance: from a Central German private collection This Jade from the Qing Dynasty has been carved into a figural representation of a butterfly. The winged creature is often used in connection with young men who have fallen in love. The jade features a reticulated design and a finely chiselled surface. The nephrite jade stone is white and shows grey inclusions as well as black and red remnants of having been hand-painted. This is an excellent quality jade with a very fine polish and oily surface. The reticulated areas make it possible to use this artwork as a pendant. The jade amulet is in very good condition with the usual traces of age. Measurements: 3.3 x 5.5 cm.

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Elegant Jade Belt Buckle from the Qing Dynasty, 19th Century

Lot 18: Elegant Jade Belt Buckle from the Qing Dynasty, 19th Century

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Description: Jade (nephrite)China, Qing Dynasty (1644-1912) - 19th centuryWhite jade with grey and apple-green inclusionsFinely polished and oily surfaceMeasurements: 5.5 x 4.5 cmVery good condition Provenance: from a Southern German private collection This attractive belt buckle was carved from jade in the 19th century in China. The belt buckle is crafted in an oval shape with slightly offset edges bearing thin slits for the belt. The jade has a natural whitish-grey patterned structure with a number of apple-green inclusions. The jade shows an opaque quality and has a highly polished surface, as is usual for original pieces of this kind. The jade is in very good condition with the usual traces of age. It measures 5.5 x 4.5 cm.

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Archaic Jade Miniature Pendant as Cong, Qing Dynasty

Lot 19: Archaic Jade Miniature Pendant as Cong, Qing Dynasty

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Description: Jade (nephrite)China, Qing Dynasty (1644-1912) or earlier Celadon-coloured to deep brown range of colourOily surfaceMeasurements: 5 x 1.5 cmGood condition Provenance: from a Central German private collection This cylindrical jade Cong was made in the Qing Dynasty (1644-1912) or even earlier in China. The shape is square on the outside with a circular hollow inside. In the antique writings 'Rites of Zhou' from the 1st century a Cong is described as a ceremonial object to be sacrificed to the earth. This miniature Cong is segmented into 12 segments, alternatively decorated with round circles or three lines. The jade is of particularly beautiful colour from celadon shades to shades of deep brown. The jade Cong is in good condition with signs of use and few nicks. It measures 5 x 1.5 cm.

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Jade Pendant in Peach Shape with a Bat & Lingzhi, Ming Dynasty

Lot 20: Jade Pendant in Peach Shape with a Bat & Lingzhi, Ming Dynasty

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Description: Jade in a colour play ranging from white to dark brownChina, late Ming Dynasty (1368-1644)Fine chiselling and relief carvingSmall drilling for the use as a pendantFine polish and oily surfaceMeasurements: 4 x 2 cmVery good condition This small figurative jade pendant was sculpted in the late Ming Dynasty (1368-1644). It represents a Lingzhi mushroom on a peach and features a small bat near the lower edge. These motifs of longevity are extremely popular in Chinese folklore. The sculpture can be put on a necklace as a pendant by using the fine hole on the tapered upper side. The jade presents a wonderful spectacle of colours, with white to dark-brown nuances. This gorgeous jade is in good condition with only slight traces of age and wear. The oily, glint of the surface is a testament to the jade's authenticity, and demonstrates excellent polish. It measures 4 cm long by 2 cm high.

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White Jade Brush Rest with 'Lóng Dragon', Qing Dynasty

Lot 21: White Jade Brush Rest with 'Lóng Dragon', Qing Dynasty

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Description: White jade (nephrite)China, Qing Dynasty (1644-1912) - 18th / 19th centuryFinely chiseledMany reticulated areasBeautifully curved wood baseMeasurements: 19.5 x 6.5 cmVery good condition This figural brush rest from the Qing Dynasty (1644-1912) dates to the 18 th or 19th century and it is made of elegant white jade. Centrally, it shows a 'lóng dragon', who's curved body seems to fuse with the jade. At the bottom right there is a small dragon cub; left of centre, there is the magical pearl, surrounded by flames. The dragon seems ecstatic, as if floating on a cloud; a mischievous smile is on his face; his right hind leg floating above the pearl. The reverse is also especially decorative, revealing a fraction of the dragon's tail, further heightening the plasticity of this jade sculpture. There are holes in the jade in which brushes may be placed. The matching wood base is reticulated; together the two pieces make a harmonious impression. This gracious jade is in good condition with only slight traces of age and use. The surface is shiny and oily, as is the case with original pieces of this kind. The stone shows an excellent polish. The sculpture measures 19.5 cm (length) by 6.5 cm (width).

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A Large Jadeite Vessel in Guang Form, late Qing Dynasty

Lot 22: A Large Jadeite Vessel in Guang Form, late Qing Dynasty

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Description: Jade (Jadeite) - light green with numerous inclusionsChina, late Qing dynasty (1644-1912)Finely chiselled and impressive relief carvingMeasurements including pedestal: 30 x 30 x 11 cmHeight of vessel: 26 cm; Width: 30 cmExcellent conditionProvenance: from a Swiss private collection, originally purchased in 1989 at Sotheby's Hong Kong - see scan of catalogue entry at the pictures of the lot This impressive large jade vessel with cover, in finely chiselled form, is reminiscent of an archaic bronze guag and presents itself in wonderful marbled light-green with ochre and lilac inclusions. The love for archaic artworks lasted from the Song Dynasty to the Qing Dynasty, encouraged by literati who took inspiration from classicism, but also by rich merchants who wished to establish an understanding for the old culture. The vessel is decorated in relief with taotie masks and gui dragons. Elaborate dragon handles decorate opposite sides of the vessel, one with a ring suspended. The curved, slanted cover is decorated by a stylized dragon and further Shang bronze motifs. The vessel with cover is set on a wonderfully reticulated boxwood pedestal. The jade Guang is in excellent condition and shows only slight, age-related signs of use. Despite the thickness of its walls, it is of translucent quality. The surface is shiny and has an oily appearance - showcasing the stone's excellent polish - this is only the case with original pieces. The vessel is 30 cm high including the pedestal; 30 cm wide and 11 cm deep. The vessel alone is 26 cm high and 30 cm wide.

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Unique, reticulated Jade Scholar's Set, late Qing Dynasty

Lot 23: Unique, reticulated Jade Scholar's Set, late Qing Dynasty

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Description: Jade (Jadeite) - light green with manifold inclusionsChina, late Qing Dynasty (1644-1912)Exceptionally fine chiselling and impressive relief carvingMeasurements including pedestal: 30 x 27 x 12 cmHeight of vessel: 27 cm; Width 27 cmExcellent conditionProvenance: from a Swiss private collection, originally purchased in 1989 at Sotheby's Hong Kong - see scan of catalogue entry at the pictures of the lot This three-part jade vessel with superior carving is an impressive work dating to the late Qing Dynasty (1644-1912). Taking the shape as a vessel with cover, it actually served a scholar as three-tier calligraphy set. The lower part is the inkwell, the midsection the brush pot and the cover is a reticulated brush rest. The three-tiered, scholar's set with elaborate artistry, is set on four paw feet, shows mask decorations on the sides and two precisely carved dragons encircling the front. The centrework of the brush holder is deeply hollowed on the inside, its walls decorated by countless reticulated chilong dragons. The handles are in the form of a phoenix and a dragon's head, set with a suspended ring each. The cover is decorated with a ruyi sceptre motif; at its centre a double gourd forming wreaths of clouds with floating chilong dragons. The Scholar's vessel has a wonderful, marbled, bright-green colour with inclusions in shades of apple and spinach green. The vessel comes with a delightful period boxwood base, patinated red and reticulated, showing Lingzhi motifs all over. This impressive scholar's set is in excellent condition and shows only slight, age-related signs of use. Despite the thickness of its walls, it is of translucent quality. The surface is shiny and has an oily appearance - displaying the stone's excellent polish - this is only the case with original pieces. The scholar's set is 30 cm high including the pedestal; 27 cm wide and 12 cm deep. The vessel alone is 27 cm high and 27 cm wide.

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Precious Jade Vessel with Cover and Dragons, Qing Dynasty

Lot 24: Precious Jade Vessel with Cover and Dragons, Qing Dynasty

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Description: Jade (Jadeite) - light green with manifold inclusionsChina, late Qing Dynasty (1644-1912)Exceptionally fine chiselling and impressive relief carvingFour Character Mark to one side Measurements including pedestal: 27 x 23 x 14 cmHeight of vessel: 22 cm; Width 25 cmExcellent conditionProvenance: from a Swiss private collection, originally purchased in 1989 at Sotheby's Hong Kong - see scan of catalogue entry at the pictures of the lot This precious Chinese jade vessel dates to the late Qing Dynasty (1644-1912) and exhibits markedly fine chiselled decorations; its overall composition is perfectly shaped. The love for archaic artworks lasted from the Song Dynasty to the Qing Dynasty, encouraged by literati who took inspiration from classicism, but also by rich merchants who wished to establish an understanding for the old culture. The vessel has thick walls with a dragon motif in relief on one side and a four-character mark on the other reading "Er Long Xi Zhu" which translates to "two dragons playing with the pearl". The sides of the bulbous bowl are flanked by reticulated dragon handles. The body ends with an accentuated stem with three Linghzi masks and suspended ring handles and showing a stylized Ruyi bordure. The convex, half-spherical cover features a repetition of the dragon and Linghzi symbol motif and an additional six suspended rings that bring out the bright tone of the jade material when clinked. The cover is crowned by a large, winding dragon in reticulation work. The stone is of pale green colour with apple-green, ochre and black inclusions. The vessel with cover is set on a wonderfully reticulated boxwood pedestal from the period that shows graceful patina. The vessel is in excellent condition and shows only minimal signs of age-related wear; the pedestal likewise. Despite the thickness of the material it is of translucent quality. The surface is shiny and has an oily appearance - bringing to attention the stone's excellent polish - this is only the case with original pieces. The vessel is 27 cm high including the pedestal; 23 cm wide and 14 cm deep. The vessel alone is 22 cm high and 25 cm wide.

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Fine Hongzhi Mark & Period Porcelain Dish with lovely scenery

Lot 25: Fine Hongzhi Mark & Period Porcelain Dish with lovely scenery

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Description: Hand-painted porcelainChina, Hongzhi period (1488 - 1505)Six-character mark of the Hongzhi period inside a double circle, on the undersidePainting later - presumably Kangxhi period (1662-1722)Very decorative motifElegant, fine ornamental paintingDiameter: 21 cmProvenance: from the estate of a German commercial attaché, who lived in China around 1900 This exquisite porcelain dish is an authentic item from the Hongzhi period (1488 - 1505) and features the mark from this period on the underside. The vivid colours in green and iron red tones and the cheerful motif are captivating. In the middle, five boys crowd round a young maiden, each one of them pursuing a different activity. One is walking a small crab on a leash, two are fighting one another with resolute facial expressions, and another cheekily peeps from behind the girl's dress. These small figures in colourful garments each have very individual facial features. The scene is rounded out with exotic plants and on the upper rim a small pagoda rises over the clouds. The small butterfly, the crab as well as the small sun show a great love for detail that make the decor of this dish so appealing. Four stylised depictions of the Chinese plum tree are rendered on the outer wall of the plate. The porcelain dish is in optically flawless condition. It used to have three small and one larger chips on the rim, which were professionally restored and are barely visible. The dish, according to the very well-set mark on the underside, originates from the Hongzhi period (1488 - 1505). The delightful painting was added later, probably in the Kangxi period (1662-1722). The dish measures 21.5 cm in diameter and is 4.5 cm high.

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Glazed Ceramic Long Neck Bottle with Dragon Handles, Tang

Lot 26: Glazed Ceramic Long Neck Bottle with Dragon Handles, Tang

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Description: Ceramic with partial glazingChina, Tang Dynasty (618-907)Elegant, curved handles in the shape of dragon's headsAppealing, bulbous formIridescent glazing in shades of ochreFine craquelureHeight: 42 cmGood condition This beautiful long-neck bottle with handles dates to the Chinese Tang Dynasty (618-907) and features an exquisitely elegant bulbous form - reminiscent of an antique amphora. The neck, on the other hand, is very slim, creating an appealing contrast to the opening, which is curved outwards. The handles are formed of s-shaped curved dragons, whose mouths rest on the rim of the opening. The fine glazing changes colour from bright ochre to shades of green. It features a very appealing, delicate craquelure, spread like a pattern over the body of the vessel. The lower third has not been glazed and thus reveals the earthy raw material of the ceramic. The vessel is in good condition with age-related signs of wear. The glaze shows partial abrasion and there are small nicks; the ear tips of one dragon show chipping. The vase measures 42 cm in height.

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Imposing Turquoise Glazed Sculpture of Zhenwu, Ming Dynasty

Lot 27: Imposing Turquoise Glazed Sculpture of Zhenwu, Ming Dynasty

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Description: Ceramic with turquoise coloured glazingChina, late Ming Dynasty (1368 - 1644), 17th centuryRepresentation of ZhenwuSplendid colourImpressive sizeMeasurements: 79 x 42 x 42 cm This impressive ceramic sculpture dates to the 17 th Century - the late Chinese Ming Dynasty (1368-1644). It shows Zhenwu on a throne with a high three-part backrest. The double-stepped pedestal shows a dragon frieze and endows the throne with grandeur. Zhenwu is also called True Warrior or Emperor of the North. He is wearing a wide, turquoise coloured garment belted under his chest. It lies on his body in soft wavy form, like his curved beard and flowing hair, which reach to his shoulders. The sculpture features finely detailed hands, rested on his knees and two typical accompanying animals of his between his naked feet; a coiled-up snake and a stylized turtle. In addition, there are two adorant figures, standing to his left and right. The god figure carries an attentive look on his finely crafted face. The ceramic sculpture is of fine optical appearance with few fire cracks and signs of use. The unglazed base and the back side show signs of restored breakages. The figure measures 79 cm (height) by 42 cm (depth).

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Rare White Glazed Soft Paste Porcelain Vase, Qianlong Mark

Lot 28: Rare White Glazed Soft Paste Porcelain Vase, Qianlong Mark

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Description: Soft paste porcelain, glazed in whiteChina, Qing Dynasty (1644 - 1912)Marked on the underside with Six Character Mark of Emperor Qianlong (1736-1795)Possibly from the Imperial WorkshopsFinely incised and relief decorationsMeasurements: 19 x 15 x 10 cmPerfect conditionNote: A comparable vase fetched more than 200.000 Euros in the Christies Hongkong November 2012 sale, although it had a firing crack at the bottom mark This important porcelain vase dates to the Qing Dynasty (1644 - 1912) and has a Qianlong mark (1736 - 1795) on its underside. It has a bulbous body, with a small, flared, ring base, a high neck and an oval opening. The body is surrounded by an exceptionally fine meandering relief decoration and archaic dragons; it is accentuated by a precisely plotted dot bordure above and below. Stylized phoenixes decorate the reticulated handles, which are in perfect symmetry with one another. The opening, ring base and the shoulders are also decorated by meandering bordures. The neck of the vase shows a further, surrounding bordure. The exquisite tactile glazing envelops the fine decorations. This vase is a simple beauty - a testament to the highest quality, with superior evenness. The vase is made of so-called soft paste porcelain and it is in impeccable condition, almost without signs of use. It is marked on the underside with the Six Character Mark of Emperor Qianlong (1736-1795). The mark has a border and it is well recognizable, displaying the Dynasty, 'Qing', and the emperor's era - 'Qianlong'. The vase measures 19 cm (height) by 15 cm (width) and 10 cm (depth).

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Cylindrical Multicolour Famille Verte Porcelain Vase, Kangxi

Lot 29: Cylindrical Multicolour Famille Verte Porcelain Vase, Kangxi

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Description: PorcelainMulti-coloured hand-painting over glazeChina, Kangxi period (1662-1722)Elegant colour palette of the Famille VerteHeight: 21 cmDiameter: 10 cm Provenance: from the collection of a German couple, which was associated with Beijing artists from the 1950s onwards This beautiful, multi-coloured painted porcelain vase from the Kangxi period (1662-1722) shows impressively varied, relief-style painting. The painting is executed masterly in shades of green, which is why this cylindrical vase can be attributed to the so called 'famille verte'. Two opposing sides show a courtly lady strolling; the other two sides show Taihu stones, Chinese scholars' rocks, surrounded by floral motifs. The theme of scholarship is continued around the edges, where small cartridge shapes display writing utensils alternating with scroll paintings. The vase has an accentuated ring base, a glazed base and a very slightly tapered mouth; the inside is also glazed. The vase shows age-related sings of use and some manufacturing flaws. The ring base has several abrasions, but none that are affecting to the vase's aesthetic appeal. The lip and the base both have a firing crack. The paintings show abrasion in some areas. The vase measures 21 cm (height) and it has a diameter of 10 cm. Famille Verte The term Famille Verte describes a specific sort of Chinese export porcelain from the end of the 17th and beginning of the 18th centuries. During the reign of Emperor Kangxi (1662-1722), Chinese porcelain manufacturers strove to create new forms and decorative techniques to cater to their clients' needs in China and abroad. One of these decorations became particularly successful - the Famille Verte. Recognisable components are finely detailed decorations in enamel paint, over a coat of glaze - chiefly executed and showing various shades of green.

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Polychrome Painted Porcelain Vase with Court Scene, Kangxi

Lot 30: Polychrome Painted Porcelain Vase with Court Scene, Kangxi

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Description: Hand-painted porcelainChina, Kangxi period (1662-1722)Underglaze blue / polychrome enamels over the glazeHeight: 28 cmProvenance: from the estate of a German commercial attaché, who lived in China around 1900 The main motif of this Yen Yen vase, hand-painted with enamels of the Famille Verte palette, is a court scene, in which men at a reception present a dignitary, with his servant at his side, with gifts. This scene is framed by elaborate architecture that creates a spatial effect within the vase. In addition, it is covered in a detailed landscape. Red clouds cover the top area of the vase and green trees and shrubbery round out the decor, which extends in a full blaze of colours up to the neck of the vase. The foot rim is encompassed by two very fine double circles; it ends at the neck with an ornamental floral bordure. The blue colour was applied underglaze while the multi-coloured enamels of the Famille Verte were applied over the glaze. The vase has a Yen Yen baluster form with a bulbous shoulder and a slightly flared foot. The vase has an optically appealing appearance with traces of age and wear. Presumably, it was shortened at the neck, and it features a bronze insert, reaching down to roughly the inner half of the vase, that was done in later times. The vase's height is 28 cm, the neck has a diameter of 12 cm and the base diameter is 14.5 cm.

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Porcelain Jug with Famille Rose decoration, China, late 18th C.

Lot 31: Porcelain Jug with Famille Rose decoration, China, late 18th C.

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Description: Porcelain jug, raffia braided metal handleChina, Qing dynasty (1644-1912) - late 18th centuryWith blue paint under glaze, multi-coloured enamels and gold paint over the glazeFigural scene with Ruyi-shaped frameWith relief decorations of flowers and butterfliesMeasurements: 15 cm (height); 10 cm (diameter)Provenance: old Viennese private collection This decorative porcelain jug was made in China and dates to the late 18 th century. It was made for the European market. The jug has a gently curved shape with an accentuated foot rim and an attached handle covered in raffia braid - this was added around 1900. The blue painting under the glaze follows the jug's walls all around with chiselled flowers and butterflies. The ruyi-shaped medallion encapsulates a detailed dancing scene with very fine Famille Rose paintwork. The upper rim shows remnants of a narrow gold rim, which has been abraded. The jug measures 15 cm (height) and 10 cm (diameter). It is in good condition with only slight traces of age and wear. Here and there are small manufacturing flaws. Famille Rose The French term 'Famille Rose' describes porcelain with rose-toned top-layer paint in opaque enamel colours. In China this porcelain is called Yangcai ('Stranger's Colour') because this type of colour was imported around 1685 from Europe.

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Guangxu Mark & Period Porcelain Bowl with Swallows in Prunus

Lot 32: Guangxu Mark & Period Porcelain Bowl with Swallows in Prunus

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Description: Hand-painted porcelain in imperial yellowChina, Guangxu Period (1875-1908)Imperial six-character mark on the undersideBeautiful floral decorationWith accentuated, glazed foot rimHeight: 7.5 cm; Diameter: 17 cmGorgeous wood baseVery good condition Provenance: from an old German private collection The birds seem to want a taste... countless swallows sit on the fine branches of the plum tree and more are coming to take from the tasty fruits with a lilac glow, each one of them highlighted with beautiful enamel colours and showcasing visible relief. The birds are rendered with impressive attention to detail - each one of them has been featured individually. The bowl's background lights up in imperial yellow, producing contrast with the small lilac fruit, all the while maintaining a harmonious overall appearance. The bowl is completely glazed in white on the inside and features an elegant curved shape and an upper rim that is slightly flared. The foot rim and the upper rim are decorated by a very fine gold lining. The underside reveals the Guangxu reign mark (1875-1908) in iron red, above the glaze. The bowl is in excellent condition with only minimal signs of use such as minor colour abrasions. The wood base has been restored and shows slight age-related cracks. The wood base measures around 8 cm (height) and has a diameter of around 13 cm.

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Collection of 18 Yixing Zisha Tea Pots, China, Qing Dynasty

Lot 33: Collection of 18 Yixing Zisha Tea Pots, China, Qing Dynasty

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Description: Yixing Zisha ceramicChina, Qing Dynasty (1644-1912)Collection of a total of 18 tea potsDifferent shapes and sizesFigural, ornamental and calligraphic decorationsPartially glazed in various coloursMostly with maker's mark on the undersideMeasurements (max.): 13.5 cm x 20.5 cmVery good to good conditionProvenance: old Viennese private collection This collection was put together lovingly for many decades. It consists of a total of 18 Yixing Zisha tea pots, datable between the 18 th and the early 20 th century. They display different shapes, sizes and decorations, partially with multi-coloured glaze. Insects, mythical creatures, flowers and calligraphy characters- an array of popular Chinese symbols are impressively rendered on these vessels. The collection is overall in good to very good condition. Only a few pieces show strong traces of age and use; six lids have small notches (mostly invisible, on the underside); one handle has been glued; the inner wall of one lid is almost entirely abraded and, on the same pieces, the edge of the opening has a chip with evident material loss. Most of these pots carry a maker's mark on their underside. The largest pot measures 13.5 x 20.5 cm. Yixing Zisha Tea Pots Yixing clay is made in a region near the Chinese city of Yixing in the Jiangsu province and it is typically used to make unglazed tea utensils and other small handicraft items. The clay normally displays a reddish-brown colouration, but colour and texture can be modified through the addition of various metal oxides and by regulating the atmosphere in the kiln. Clay with a slight purple tinge is called Yixing Zisha. The unglazed surfaces of Yixing Zisha tea pots absorb particles of tea and thus have the unique ability of improving the taste of tea. The more often they are used, the better the aromatic outcome. For this reason these pots should be washed only with water, and, ideally, each one should only be used for one type of tea. The clay was used as early as the Song Dynasty (960-1279) to create tea pots, but became particularly popular during the Ming (1368-1644) and Qing (1644-1912) Dynasties. Early pieces were made as travel companions, so they had to be compact. Only in the 18 th century were Yixing Zisha pots made for home ceremonies - and they were then available in all shapes and sizes.

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Precious Chinese Porcelain Vase with Qianlong Mark, around 1900

Lot 34: Precious Chinese Porcelain Vase with Qianlong Mark, around 1900

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Description: Porcelain with enamel coloursChina, late Qing Dynasty (1644-1912) - around 1900Apocryphal Qianlong Mark on the undersideHeight: 19 cmHand painting with multi-coloured enamels over the glazeExcellent condition This finely crafted porcelain vase from the late Qing Dynasty (1644-1912) is unusually shaped with a circular shoulder and a protruding opening. Brilliant enamel colours decorate the body with hand-painted ornamental patterns; amongst lotus blossoms, chrysanthemums and other blossoms and vines, there are lanterns - symbols of luck. Ruyi and Lingzhi bordures round off this Vase's archaic appearance. The inner and underside are coated with a turquoise glaze. The neck has a gold rim. The underside reveals the mark of the Qianlong era - but this is only an homage. The condition is excellent save for signs of use and slight abrasions of colours. The vase is 19 cm high.

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Fine Agate Snuff Bottle with Relief Carving, Qing Dynasty

Lot 35: Fine Agate Snuff Bottle with Relief Carving, Qing Dynasty

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Description: Agate, glass stopperChina, Qing Dynasty (1644-1912) - between 1800 and 1880Excellent polish and oily surfaceWell hollowedDecorations in high reliefAccentuated foot rimHeight with stopper: around 8.5 cmVery good conditionProvenance: from a Southern German private collection This fine agate snuff bottle was carved in China during the Qing Dynasty (1644-1912). The ochre coloured inclusions of the agate were perfectly incorporated into the relief decoration. These are finely chiselled and show a peach branch with fruit, a vase with a plant and a bird, resting on a Ling Zhi mushroom. The rounded-square bulbous body has an accentuated foot rim with an indentation at its centre. The Snuff bottle has a cylindrical neck and the mouth is circular. The interior of the bottle is very well hollowed. This is a finely polished snuff bottle with an appealing, oily surface, as is usual for originals of this kind. It features particularly well executed decorations. The agate snuff bottle is in very good condition with only minimal signs of use. The stopper is made of red glass with an embedded ivory spoon; it is not matching and was added at a later date. The bottle measures 8.5 cm high with the stopper and 7.5 cm without it.

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Fine Snuff Bottle carved of White Jade, 19th Century

Lot 36: Fine Snuff Bottle carved of White Jade, 19th Century

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Description: White jade (nephrite), silver stopper with coral, malachite and jade inlaysChina, Qing Dynasty (1644-1912) - 19th centuryBeautifully polished and oily surfaceArchaic dragon ring masks on the sidesMeasurements with stopper: around 8.5 cm (height)Good condition Provenance: from a Southern German private collection This fine snuff bottle is carved from exquisite white jade. It was crafted in the 19th century in China. It shows a dragon ring mask on each side and has a beautiful oily surface. The opening is circular, below it there is a cylindrical neck, then a rounded body and a base with an accentuated foot rim. The hollowing is of excellent quality. The silver stopper with small malachite, coral and nephrite inlays fits snugly. This beautiful snuff bottle is especially noteworthy for its fine opaque white jade and its delicate polish and oily surface; identifying features of originals. Under light, the material reveals a pleasing cloud-pattern. The snuff bottle is in good condition with only a few small notches at the mouth. It measures 8.5 cm (height with stopper) and 7 cm (height without stopper).

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Pair of Qing Dynasty Silk Embroideries, around 1900

Lot 37: Pair of Qing Dynasty Silk Embroideries, around 1900

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Description: Silk, embroidered with coloured silk, brocade and gold threadsChina, Qing Dynasty (1644-1912) - around 1900Beautifully coloured embroideriesDepiction of 'Antique Treasures'Beautiful gold-frames in bamboo lookMeasurements, framed: 97 cm (height); 49 cm (width) eachVery good conditionThis pair of fine embroideries dates to the late Qing Dynasty (1644-1912). Two deep-blue silk panels feature various objects from Chinese tradition (the 'antique treasures') that are arranged above one another. The panels are mounted on paper and additionally decorated by a silk bordure. The embroidered symbols include Fu (wealth) and Gong (palace). One panel shows a round caligraphed symbol, similar to a reticulated Bi-disc. Centrally there is a splendid vase decorated by peonies and the lower part shows calligraphed symbols and a tea kettle, also with floral decorations. The second silk panel is embroidered with a bowl and a vase showcasing flying phoenixes. The lower area here shows more calligraphed symbols. The decorations are sewn with coloured silk threads and are partially highlighted with gold threads. These fine silk panels are framed in bamboo-look golden frames. Both panels are in good condition for their age. The silk shows a few creases and some unevenness. The measurements, framed, are 97 x 49 cm and 83 x 35 cm without the frame.

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Six Woven Kesi Silk Panels with War Scene, 19th C.

Lot 38: Six Woven Kesi Silk Panels with War Scene, 19th C.

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Description: Silk, woven with silk and gold threadsChina, Qing Dynasty (1644-19112) - 19th centurySuzhou Kesi techniqueGold bordureDimensions: each approx. 92 x 25 cm or 98 x 27 cmGood condition The six woven panels were made in the 19 th century during the Qing Dynasty (1644-1912). They were made using the Suzhou Kesi technique, a very old and traditional method of silk weaving. The separate strips of fabric are embroidered with colourful war scenes, with backgrounds and highlights in gold threads. The warriors are all doing their duty; some on horseback, armed with lances, spears or carrying flags. The scenes are set in an idealized landscape, surrounded by a woven ornamental bordure and a blue silk frame. This is a beautiful collection of Suzhou Kesi weavings, with war scenes to contemplate over. The six panels are in good condition with only slight traces of age. The colours have remained intense; the gold shimmers. The silk border is partially coming lose from the woven scenes. The panels measure between 92 x 25 cm and 98 x 27 cm.

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Fragment of a Ceremonial Ming Dynasty Robe with Dragons

Lot 39: Fragment of a Ceremonial Ming Dynasty Robe with Dragons

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Description: Silk and silk brocadeChina, Ming Dynasty (1368-1644)Antique embroideryGreat expressional collector's itemMeasurements on frame: 117 x 122 cmMeasurements of the fragment: around 102 x 113 cm This rare fragment of a ceremonial gown comes from China and dates to the Ming dynasty. The fragment is embroidered with silk and shows a dragon surrounded by a mannerist, almost modern, wavy frame. There is an ornamental decoration made of the Ruyi symbol, reminiscent of clouds - surrounding the motif. The various colours of the silk threads are difficult to discern, but blue and red remain visible. This is a rare relic of a Ming Dynasty gown, embroidered with the most famous of all mythical Chinese creatures. The fragment shows clear traces of age. It has smaller and larger holes, but the motif is still appealingly visible. The fragment is mounted in a way that the structure of the embroidery and the original colours are also visible on the back. It measures 117 x 122 cm on its frame and 102 x 113 cm without it.

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Impressive Kesi Silk Embroidery with 100 Boys, Kangxi Period

Lot 40: Impressive Kesi Silk Embroidery with 100 Boys, Kangxi Period

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Description: SilkChina, Kangxi Period (1654-1722)Kesi techniqueGreat colours and gold-thread weaving Measurements: 195 x 208 cmVery good conditionProvenance: from an Austrian private collection This masterly Kesi silk embroidery dates to the Chinese Kangxi Period (1654-1722). This tapestry shows the popular Chinese motif of the 100 boys. Each boy is portrayed with individual facial features. The children are playing with various toys like drums, spinning tops and board games; others are juggling or performing acrobatic stunts. Several boys are playing hide and seek in a pavilion. Another group of boys is carrying a splendid dragon on sticks, two more are in front of them, carrying lanterns. Two boys are joyfully lighting fireworks, while others stroll through the garden or simply enjoy the beautiful surroundings. Various flowering trees, scholar's rocks, archaic bats and kind of a small shrine can also be found on this artwork. All the boys are happy and well spirited. The scenery seems like a divine garden on clouds, occasionally dispersing the ox-blood coloured background. The masterful embroidery seems painted and has a smooth surface. The strong shades of blue, red and white give this tapestry a three-dimensional plasticity, which is further heightened by gold accentuations. The reverse is covered with a silk panel in a fine shade of green, which rounds off the piece. The variety of the artwork invites the viewer to explore and marvel for hours. The Kesi wall weaving is in excellent condition, considering its age. There is light damage, signs of use and repair discernible. The tapestry shows light stains and few marks of repair. A number of eyelets allow the embroidery to be hung up. It measures 195 x 208 cm. A true collector's item, crafted by a master's hand. Kesi Technique Kesi technique, also called Chinese tapestry, is a very old form of silk weaving from China, Sozhou city and surroundings. It involves using crude silk as warp yarns and boiled silk as end yarn. The special thing about this technique is that only a part of the end yarn is connected to the warp yard and no difference is made between front and back. In early Dynasties, an inch of Kesi fabric was worth as much as an ounce of gold. The process of making Kesi weaving required a large quantum of patience as it took a long time - only about a centimetre was made per worker, per day. The technique was developed during the Han Dynastry (206 BC - 220 AD) and refined during the Song Dynasty (960-1279) - which became known, amongst other things, as the golden age of Kesi weaving. The technique was most popular during the Ming Dynasty (1368-1644), where Kesi artworks started to look like silk drawings. Sadly the technique is almost forgotten today, as the long production time incurs high costs.

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Chinese Jadeite Mandarin Court Necklace, Qing Dynasty

Lot 41: Chinese Jadeite Mandarin Court Necklace, Qing Dynasty

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Description: Polished jadeite, red jasper, lapis lazuli, turquoise, quartz with rutile inclusionsDetails in gilded silver and silk brocadeChina, late Qing Dynasty (1644-1912)With four pendantsBeautiful oval turquoise as centreworkVery harmonious combination of coloursLength: 112.5 cmVery good conditionProvenance: from a Canadian private collection This very fine courtly necklace was made in China during the late Qing Dynasty (1644-1912). It is consists of a total of 108 beads, among them apple-green chatoyant and polished jadeites, precious lapis lazuli and jasper, which are a marvellous highlight in their iron red colour. The oval turquoise is set in gold and shows a natural marble-like pattern. The pendants are partially embedded in silk brocade. The quartzes with rutile inclusions are particularly noteworthy for their drop-shape, gilded silver setting and elegant sparkling quality. Opulent necklaces of this kind, made of semi-precious gemstones, were only worn by the highest-ranking members of the Chinese Imperial Court - they are thus demonstrative of the position and power of their wearer. The number 108 is a traditional Chinese lucky number. As numbers are of high importance in Chinese culture, these necklaces were often composed with 108 beads or stones. The necklace is in a very good condition with only minimal traces of age and wear. The stones as well as the silk brocade are perfectly preserved. The length of the necklace (measured when worn and including the pendant) is 112.5 cm. Mandarin Court Necklaces Mandarin court necklaces are called 'Chao Zhu' in Chinese. They were worn by honorary members of the court and officials of the Qing Dynasty to indicate the rank of its wearer. Such jewellery presented an opportunity to express one's status and one's taste. The number of gem stones and semi-precious stones usually carry symbolic weight.

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Chinese Mandarin Court Necklace with Lapis Lazuli, Qing Dynasty

Lot 42: Chinese Mandarin Court Necklace with Lapis Lazuli, Qing Dynasty

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Description: Lapis lazuli, semi-precious stones, jasper, silver and enamelChina, late Qing Dynasty (1644-1912)Splendid courtly necklaceBeautiful blue lapis lazuliWith four pendantsExtremely fine enamel workTotal length: 170 cmVery good condition Provenance: from a Canadian private collection This fine courtly lapis lazuli necklace from China dates to the late Qing Dynasty (1644-1912). It is composed of 108 pearls, among which are lapis lazuli in deep blue, jasper, quartz and many other semi-precious stones such as jade or rutile needle quartz. The drop-shaped stones on the pendants have beautiful natural inclusions. They are set in multi-coloured enamel ornamentation. The lower part of the necklace is composed of silk brocade, which holds the pendants. Necklaces such as this one were worn for centuries by people of the Chinese court; a symbol of their elevated social position. The number 108 is a traditional Chinese lucky number. The necklace is in very good condition with only minimal traces of age and wear. The stones as well as the silk brocade are almost flawless. The length of the necklace (measured when worn and including the pendant) is 170 cm. Mandarin Court Necklaces Mandarin court necklaces are called 'Chao Zhu' in Chinese. They were worn by honorary members of the court and officials of the Qing Dynasty to indicate the rank of its wearer. Such jewellery presented an opportunity to express one's status and one's taste. The number of gem stones and semi-precious stones usually carry symbolic weight.

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Courtly Amber Necklace with Jade Pendant, Qing Dynasty

Lot 43: Courtly Amber Necklace with Jade Pendant, Qing Dynasty

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Description: Double-string necklace made of Baltic amber, jade and silver China, Qing Dynasty (1644-1912) - around 190074 amber pearlsVery finely carved pendant made of green jadeElegant latch with cabochon cut amber inlayLength: around 60 cmGood condition Provenance: from the collection of a German couple, which was associated with Beijing artists from the 1950s onwards This marvellously beautiful double-string necklace is made with 74 Baltic amber pearls, originates from China and dates to the Qing Dynasty (1644-1912). The strong, warm orange of the amber creates a harmonious contrast to the green of the jade pendant. The pendant has very fine reticulated elements and delicate carvings showing peonies, chrysanthemums and butterflies. The jade is appealingly polished, producing a shiny surface and is of a translucent quality. The necklace is in good condition with slight signs of wear and age. The jade pendant has a chip on one side of its edge. The latch is stamped 'Silver' and 'China' on the back. The necklace measures around 60 cm; the beads have a diameter of around 1 cm. The pendant measures 7.5 cm x 6 cm (length by width); the latch measures around 2 cm (length).

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Important Fire-Gilded Bronze Guanyin, late Ming Dynasty

Lot 44: Important Fire-Gilded Bronze Guanyin, late Ming Dynasty

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Description: Bronze with partial fire-gildingChina, late Ming Dynasty (1386-1644)Finely chiselled lotus decorationsWonderfully transcendental facial expressionMeasurements: 48 x 29 x 16 cmVery good conditionProvenance: from the estate of a German antiquarian This impressive bronze sculpture from the late Ming Dynasty (1368-1644) in China shows a Guanyin with extensive fire-gilding. The deity sits in so-called padmâsana, the lotus position. Her right hand is held to her chest displaying the vitarka Mudra, a gesture of explication, where thumb and forefinger touch. Her left hand shows the gesture varada Mudra, symbolizing the granting of wishes; the palm points forwards and down, holding the pearl of light tightly. In both her hands, she holds a lotus stem that rises up to a blooming flower near her shoulders. The sculpture was originally decorated by two adorants, placed on these lotus flowers. The Guanyin's garment is impressively fire gilded and has finely chiselled lotus decorations. Royal jewellery covers her body. A small Buddha Amitabha is at the centre of her crown, behind it a distinct gold ushnisha and the third eye, urna, gleams in gold on her forehead. This detail may have been added later. The well-defined soles of her feet, finger nails and finely chiselled hair are a testament to the highest of Ming-era bronze art. The contrast of gilded and bronze-coloured areas adds to the stately form of this religious sculpture. Her peaceful expression, full lips and half-closed eyelids round off this artwork in a transcendental manner. This impressive bronze Guanyin is in good condition for its age with some signs of use. There are signs of malachite-green and iron red patina in places with slight abrasions of gold. The base plate is somewhat bent and dented, but intact. The figure measures 48 cm (height); 29 cm (width) and 16 cm (depth). 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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Fine Bronze Figure of a Guanyin, China, Ming Dynasty

Lot 45: Fine Bronze Figure of a Guanyin, China, Ming Dynasty

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Description: Dark patinated bronzeChina, Ming Dynasty (1368-1644)Finest castingRemnants of gildingMeasurements: 30 x 17 cmVery good conditionProvenance: Old Viennese private collection This graceful, dark patinated bronze figure is from China and dates to the Ming Dynasty (1368-1644). It shows Guanyin, the goddess of goodwill and compassion. Her hands lie folded in her lap, palms face up. She sits on a semi-circular lotus throne, in the padmâsana position, also called lotus position. Her decorated clothes gently flow over the impressive pedestal, and over her arms and legs. She is wearing long earrings and a remarkable richly decorated crown, behind which she has her hair pinned up. Her face reveals a striking expression, with a motherly smile, semi-closed eyes and delicate features. The Guanyin is finely chiselled with decorative chasework and the remaining shimmer of earlier gilding. The bronze is in good condition for its age showing signs of earlier gilding and an appealing patina. It measures 30 cm (height) by 17 cm (width). 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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Figural Bronze Scroll Weight as Lion-Dog, China, 17th Century

Lot 46: Figural Bronze Scroll Weight as Lion-Dog, China, 17th Century

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Description: BronzeChina, 17th centuryFigural scroll weightMeasurements: 7 x 2.5 cmGood condition This small bronze figure actually is a figural scroll weight, used to weigh down scroll paintings. It dates back to the 17 th century in China. It represents a young huddling lion-dog. His left paw is extended, his right retracted, under his body. The hind legs are also angled and his tail and curly mane lie flat on his back. With a closed mouth and wakeful eyes, he looks forwards, alerted and watching. The small bronze sculpture is in good condition with clear traces of age and wear and a full-fledged patina. The bronze weighs 233 grams and measures 7 cm (length) by 2.5 cm (width).

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Pair of Bronze Fo Lion Censers, China, Late Ming Dynasty

Lot 47: Pair of Bronze Fo Lion Censers, China, Late Ming Dynasty

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Description: Dark patinated bronzeChina, late Ming Dynasty (1368-1644)With removable heads and reticulated mouthsMeasurements: around 31 x 34 cmAppealing, natural patinaVery good condition These two expressive Fo Lions, were designed as a pair of censers and are very accurately cast, which is particularly noticeable around the extremities. The tails and the stylized back hair are crafted with high attention to detail, demonstrating exceptional craftsmanship. Turned to face one another it seems as though the lions were about to start a fight. Their heads are detachable; the mouths of both and the nostrils of one of these mythical creatures show reticulation. Both lions are in very good condition with only minimal traces of age and use. They have a very appealing natural patina and measure around 31 x 34 cm (width x length). Fo Lions Fo lions, also called guardian lions, enjoy high popularity in Chinese art. Their appearance reminds one of a mixture of a dragon and a lion. These mythical creatures usually come in pairs and were originally positioned to guard the entrance of Buddhist temples. In the arts and crafts, they are often refigured as doorknockers or decorative ceramic, marble, or bronze vessels.

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

Lot 48: Fire Gilt Sino-Tibetan Bronze Sculpture of a Tara, 18th Century

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Description: Fire gilded bronzeSino-Tibetan, 18th centuryExuberant jewellery with turquoise and carnelian inlaysMasterfully chiselled decorationMeasurements: 22 x 16 cmVery good condition This highly expressive fire-gilded bronze shows a green Tara and dates to the 18 th century. The goddess sits on a double-lotus throne with a sealed base plate. She sits in lalitâsana , the posture of royal ease. Her right foot is supported by another small lotus throne. Tara carries a peaceful expression ( sânta ) with a slight smile ( îshat-prahasita ). Her right hand rests on her knee, showing the varada Mudra, the gesture of granting wishes. She holds a lotus stem in thumb and forefinger of both hands, the blossom reaching up to her shoulders. Her body is covered with precious jewellery with inlays of turquoises and carnelians. A precious hand painted tiara decorates her head with hand painting in indigo blue visible at the chignon. Her body is surrounded by the floating ribbons of her garment. The green Tara is a symbol of empathy and the guardian of mankind against all dangers. This artwork is a particularly fine representation of the goddess, with masterful chiselling and rich fire gilding. The base plate shows the double Vajra symbol and it is sealed. The bronze Tara figure is in very good condition with the usual traces of age and wear and an appealing authentic patina. The sculpture is 22 cm high and 16 cm wide.

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Impressive Sino-Tibetan Bronze, Avalokitesvara, 18th/19th C.

Lot 49: Impressive Sino-Tibetan Bronze, Avalokitesvara, 18th/19th C.

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Description: Sino-Tibetan, the bronze from the 18th/19th centuryThe fire gilding was probably renewed later and the patina appears enhanced Multiple arms with many attributesFinely chiselled, inlaid turquoisesImpressive sizeMeasurements: 62 x 43 x 32 cmGood condition This impressive Sino-Tibetan bronze sculpture of a Bodhisattva Avalokitesvara dates to the 18 th or 19 th century. It is of high quality. The bodhisattva is on a double, semi-circular throne of Lotuses with a sealed base plate. He sits in padmâsana, the so-called lotus position. His legs are crossed and his expression is peaceful (sânta) with a benevolent smile. Between his semi-closed eyelids, there is the third eye - the urna. The Bodhisattva holds a number of objects in his many hands: a vajra, a necklace, the wishing pearl, a kalasa, a round sling, a ritual vessel, a spinning top, an oval piece of fruit and a sea conch. The front most right hand is shaped to form the prithvi Mudra, the element of the earth; his left, opposite hand is showing the akash Mudra, a gesture for focusing energy - he holds this hand up to his chest. The remaining hands without features also show the akash Mudra with two fingers. Each hand and the soles of his feet are decorated by a lotus symbol inside a rhombus. The golden body is decorated with elegant jewellery, partially accentuated with inlays of turquoises. His head is decorated by a high crown, with rich relief lotus decorations. His hair, folds on his garment, hands and feet, are executed with the finest chiselling technique. The Bodhisattva Avalokitesvara is regarded as 'the master who gazes upon suffering on earth'. He symbolizes endless empathy with mankind, which is the reason he often has several heads and literally '1000' arms. The bronze sculpture is in good condition for its age with the usual signs of wear. It consists of three parts: the head, the midsection and the base. The head is slightly moveable and the base plate is dented. The sculpture is 62 cm high, 43 cm wide and 32 cm deep. The fire gilding was probably renewed and in our opinion the patina was enhanced. This is certainly reflected in the low estimate given.

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Luxurious Lacquer box with courtly scenes, China, late Qing

Lot 50: Luxurious Lacquer box with courtly scenes, China, late Qing

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Description: Black & gold lacquered boxChina, late Qing Dynasty (1644-1912)Hinged sewing and writing box with lock and keyWith handles on both sidesDivided in several levels and segmentsWith elaborate figural and ornamental decorDimensions: approx. 14 x 35.5 x 25 cm (Height x Length x Width) This luxurious black lacquered box dates back to the Qing Dynasty in China and shows a beautiful figural and ornamental decor with courtly scenes. It has a rectangular form with chamfered edges and is divided in several levels and segments. The upper part of the inside box has presumably served as a sewing box and has an inset with compartments two of which have lids. Below this, a separate drawer can be found in which writing utensils could have been stored. This is again segmented in smaller compartments and has a small hinged console. The box is in overall good condition with visible traces of age and use such as hairline cracks, material loss and partial colour abrasions. The keys are at hand, but the lock does not fasten properly. The dimensions are approx. 14 x 35.5 x 25 cm (Height x Length x Width).

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