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Asian Art Discoveries Day 3 - Chinese & Himalayan Art Discoveries

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Lot 1556 - A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, QING DYNASTY A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, QING DYNASTY China, 18 th to early 19 th century. Solidly cast, seated in dhyanasana on a sealed double-lotus base, his right hand lowered in bhumisparsha mudra, the left held above his lap. His long robes open at the chest, tied at the midriff, with a shawl draped over both shoulders, the hems engraved with scrolling vines. His serene face with downcast gaze, sinuous eyelids, and red lips forming a calm smile, flanked by long pendulous earlobes. His hair arranged in tight node curls over the domed ushnisha topped by a jewel. Provenance: Austrian private collection. Condition: Very good condition with minor wear, casting irregularities with the casting line of the right arm visible, rubbing to the gilding, light scratches, and remnants of pigment. Weight: 419 g Dimensions: Height 11.3 cm Auction result comparison: Type: Related Auction: Bonhams New York, 18 March 2013, lot 162 Price: USD 12,500 or approx. EUR 16,000 converted and adjusted for inflation at the time of writing Description: A parcel-gilt copper alloy figure of Buddha Shakyamuni, 18 th century Expert remark: Compare the related style and base. Note the different robes. Note the size (16.8 cm). Auction result comparison: Type: Related Auction: Bonhams New York, 10 September 2018, lot 136 Price: USD 8,750 or approx. EUR 10,000 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Shakyamuni Buddha, 17 th/18 th century Expert remark: Compare the related style and base. Note the slightly different robes. Note the size (16.2 cm).

Estim. 800 - 1 600 EUR

Lot 1561 - A BRONZE HARNESS JINGLE, LUAN, ZHOU DYNASTY A BRONZE HARNESS JINGLE, LUAN, ZHOU DYNASTY China, c. 11 th-3 rd century BC. Cast with a globular top with a central aperture on both sides, pierced with radiating petals to one side, supported on a tall spreading foot of rectangular section cast with raised geometric designs and apertures on all four sides. Provenance: From a private collection in Germany. The back inscribed with an old collector’s number, ‘L45.1-23.’ Condition: Good condition, commensurate with age. Extensive wear, casting flaws, losses, signs of weathering and erosion, old repairs, touchups, few cracks. The bronze with a naturally grown patina with malachite and russet inclusions. Weight: 512.2 g Dimensions: Height 18.2 cm With an associated marble stand. (2) In ancient China, the first horse-drawn chariots were used for daily activities, hunting, and combat. While most wooden components decayed over time, bronze fittings, bridle pieces and other ornaments survived to offer evidence of the chariot’s important role. Luxurious chariots, which belonged exclusively to nobles and members of the royal family, were drawn by four horses and decorated with metal and paint. The bells would have been attached to the yoke or drawbar on a horse-drawn chariot. They were displayed in sets to indicate social status – two, four, six or eight bells – the higher the number of bells, the higher the social status of the passenger. Literature comparison: Compare a closely related jingle, dated to the Zhou dynasty, 18 cm high, in the collection of the British Museum, registration number 1936,1118.70. Compare a closely related jingle, dated to the Western Zhou dynasty, in the collection of the Ashmolean Museum, Oxford, accession number EA1956.844. Compare a closely related carriage ornament, dated to the Western Zhou dynasty, 17.8 cm tall, in the collection of the Nara National Museum, accession number 1317-331. Auction result comparison: Type: Closely related Auction: Christie’s London, 7 November 2017, lot 161 Estimate: GBP 4,000 or approx. EUR 6,500 converted and adjusted for inflation at the time of writing Description: A bronze harness jingle, Zhou dynasty Expert remark: Compare the closely related form and manner of casting with similar open flower design and patina. Note the size (16.3 cm). Note that this bronze was previously sold at Sotheby’s London, 3 October 1978, lot 29.

Estim. 600 - 1 200 EUR

Lot 1562 - A BRONZE STORAGE VESSEL AND COVER WITH BIRD-FORM FINIALS, FANGHU, HAN DYNASTY A BRONZE STORAGE VESSEL AND COVER WITH BIRD-FORM FINIALS, FANGHU, HAN DYNASTY China, 206 BC to AD 220. The faceted pear-shaped body raised on a slightly spreading square foot and applied to opposing sides with taotie mask handles suspending loose rings, the square cover surmounted by four flattened bird-form finials. Provenance: From a French private collection. Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, encrustations, casting flaws, losses, cracks, nicks, scratches. The bronze with a superb, naturally grown patina with scattered malachite encrustations. Weight: 2.3 kg Dimensions: Height 33.5 cm Literature comparison: Compare a related bronze fanghu, excavated at Shuihudi, Yunmeng, Hubei province, now in the Yunmeng County Museum, published in Zhongguo qingtongqi quanji (‘Complete collection of Chinese archaic bronzes’), vol. 12, Beijing, 1998, pl. 9. Compare a related bronze fanghu in the collection of the Fujii Yurinkan, Kyoto, illustrated in Sueji Umehara, Nihon shucho Shina kodo seikwa (‘Select Relics of Ancient Chinese Bronzes from Collections in Japan’), vol. 6, Osaka, 1964, pl. 471. Auction result comparison: Type: Closely related Auction: Bonhams Los Angeles, 21 June 2022, lot 87 Price: USD 3,570 or approx. EUR 3,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze vessel and cover, Fanghu, Han dynasty Expert remark: Compare the closely related form and manner of casting with similar bird-form finials, patina, and size (35.6 cm).

Estim. 600 - 1 200 EUR

Lot 1570 - A PAIR OF HEAVY BRONZE FIGURES OF QILIN, MING DYNASTY A PAIR OF HEAVY BRONZE FIGURES OF QILIN, MING DYNASTY China, 1368-1644. Boldly cast with animated proportions, the heads of the qilins glance over their shoulders towards their upswept tails while striding forward. The beasts with neatly incised scales, spiky manes and brows, and wavy hair as well as crenulated spines. Provenance: Austrian trade, by repute from an old Viennese private estate. Condition: Good condition with minor wear and casting flaws. Signs of weathering, encrustations, small nicks and losses, light scratches, one tail with traces of soldering. Rich, dark, naturally grown patina with scattered malachite encrustations. The wood stands with old wear, age cracks and minor losses. Weight: 3.8 kg and 3.5 kg Dimensions: Length 27 cm and 30.5 cm Each figure with an associated fitted wood stand. (4) Auction result comparison: Type: Related Auction: Christie’s New York, 17 September 2010, lot 1025 Price: USD 13,750 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: An archaistic bronze figure of a qilin, Ming Dynasty, 1368-1644 Expert remark: Note the length (18.4 cm). Auction result comparison: Type: Related Auction: Christie’s Paris, 22 June 2016, lot 348 Price: EUR 5,000 or approx. EUR 5,900 adjusted for inflation at the time of writing Description: A pair of bronze figures of qilin, Ming dynasty, 1368-1644 Expert remark: Note the size (21 cm).

Estim. 800 - 1 600 EUR

Lot 1574 - A SAWASA WARE PARCEL-GILT BRONZE TRIPOD CENSER AND COVER, 18TH CENTURY A SAWASA WARE PARCEL-GILT BRONZE TRIPOD CENSER AND COVER, 18TH CENTURY Japan and China. The compressed body of lobed form raised on three gilt slender waisted legs, flanked by twin mythical beast head handles pierced at the mouth, the sides with gilt quatrefoil panels decorated in relief depicting prunus, peony, and lotus sprays, all against a minutely ring-punched ground. The domed reticulated cover surmounted by a Buddhist lion seated on its haunches with a brocade ball under its paw. Provenance: English trade. Acquired in an old private estate in Berkshire. Condition: Good condition with expected old wear and casting irregularities. Tiny nicks, small losses along the rim, scattered scratches, and minor encrustations. Rubbing to gilt. The finial slightly loose. Weight: 415.1 g (with cover) Dimensions: Height 11.2 cm, Width 11.5 cm Sawasa describes a distinctive style of metalwork produced in Asia during the 17th and 18th centuries. The base material was a copper-gold alloy, much like the Japanese shakudo. Sawasa articles usually appear in the form of all kinds of containers like tobacco boxes, but also cups and saucers, ewers, and other items for which the material is suited. The production of Sawasa items is primarily associated with Nagasaki, but various records suggest there was also production in both Canton (Guangzhou) and Tonkin (Hanoi). The clientele were mainly the Dutch colonial expat community, who commissioned these items for their own use and to some extent for trade with Europe. Literature comparison: In Robert D. Mowry, China's Renaissance in Bronze, Phoenix Art Museum, 1993, the author illustrates two bronze pieces, nos. 27 and 28, with the surface induced to create a dark, gunmetal gray finish. He dates these pieces to probably the mid- to late 18th century. He also illustrates a censer similar to the present lot, no. 29, which he dates the same way. Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 21 March 2015, lot 783 Price: USD 13,750 or approx. EUR 16,500 converted and adjusted for inflation at the time of writing Description: A parcel-gilt bronze tripod censer and cover, Qing dynasty, probably 18th century Expert remark: Compare the closely related manner of casting and gilt decoration. Also compare the similarities of the lids.

Estim. 600 - 1 200 EUR

Lot 1589 - A BRONZE DAGGER WITH GUARDIAN FINIAL A BRONZE DAGGER WITH GUARDIAN FINIAL China, 19 th century or earlier. Well cast, the rounded leaf-shaped blade tapering towards the tip with a ridge running down the center of the blade, the tiered handle surmounted by a temple guardian wearing an armor and a tall hat, one hand on the waist, as he turns his head inquisitively. Provenance: Galleria L’oratorio, Bologna, 1997, by repute. The collection of Paolo Bertuzzi, acquired from the above. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother’s business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition with wear and casting flaws. Some rubbing, minuscule losses, and light nicks. Fine patination, and malachite encrustations. Weight: 491.8 g Dimensions: Length 33.5 cm

Estim. 400 - 800 EUR

Lot 1599 - AN EMBROIDERED ‘CRANES WORSHIPPING THE PHOENIX’ SILK PANEL, 19TH CENTURY AN EMBROIDERED ‘CRANES WORSHIPPING THE PHOENIX’ SILK PANEL, 19TH CENTURY China. Finely embroidered in elegant monochrome colors, depicting two majestic phoenixes with long trailing tails standing on a rock, two cranes looking upwards to them, at the lower right several mandarin ducks frolicking in a pond, and two birds perched on a tree. Inscriptions: To the upper left an inscription by the Song dynasty civil servant Huang Yuandao, writing about cranes and how they dance and fly. With two seal marks. Provenance: From a British private collection, according to the owner acquired in the early 20th century in China by their grandparents, and thence by descent within the same family. Condition: Superb condition with only minor wear, faint soiling and few loose threads to edges. The frame with nicks, scratches and other traces of wear and age. Must be considered exceedingly rare in this pristine state of preservation, especially given the frailty of the fabric. Dimensions: Size 41.9 x 87 cm (excl. frame), 48.2 x 94.4 cm (incl. frame) Paintings and embroideries with phoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. Literature comparison: Compare a silk painting with a closely related subject, depicting two phoenixes surrounded by various species of birds and titled ‘A hundred birds worship the phoenixes’, 18 th century, in the collection of the Freer Gallery of Art in the National Museum of Asian Art, Smithsonian Institution, accession number F1909.218. Auction result comparison: Type: Related Auction: Christie’s London, 6 November 2018, lot 317 Price: GBP 17,500 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: An embroidered silk 'phoenix and qilin' panel, 19th century Expert remark: Compare related motif and choice of colors. Note the size (70.5 x 102.8 cm).

Estim. 400 - 800 EUR

Lot 1609 - ‘MEN WASHING A HORSE’, AFTER ZHAO YONG (1289-1369) ‘MEN WASHING A HORSE’, AFTER ZHAO YONG (1289-1369) China, Qing dynasty (1644-1912). Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a silk coated paper frame with wooden handles. Finely painted with two men washing and grooming a white horse in a meandering river stream flowing through a mountainous landscape. Inscriptions: Seal to the bottom-left corner, ‘Zhao Yong’ 趙雍. The top-left corner inscribed with a poem by Zhu Yunming, signed Yun Ming 允明. Provenance: From an Austrian private collection. Condition: Some fading, minor soiling, tiny stains, browning, minor losses, few tears with associated repairs, and possible minor touch-ups. Some stress to the fabric. The mounting with usual traces of wear and age. Dimensions: Image size 108 x 50 cm, Size incl. frame 204 x 69.5 cm Zhao Yong (1289-1369) was the second son of famous painters Zhao Mengfu (1254-1322) and Guan Daosheng (1262-1319). He followed the family tradition of painting and calligraphy, achieving fame. He especially excelled at depicting figures and saddled horses. Literature comparison: Compare a scroll painting of five horses by Zhao Yong (1291-1361), in the collection of National Palace Museum. Compare a scroll painting of men washing horses, in the collection of the Princeton University Art Museum, object number y1947-221. Compare a handscroll of washing horses in a river, in the style of Zhao Mengfu, Yuan dynasty, in the collection of the Metropolitan Museum of Art, accession number 29.100.481. Auction result comparison: Type: Related Auction: Sotheby’s London, 9 November 2005, lot 464 Estimate: GBP 4,000 or approx. EUR 9,200 converted and adjusted for inflation at the time of writing Description: A Ming-style painting of a horse being groomed Expert remark: Compare the closely related subject and similar depiction of men grooming a horse.

Estim. 800 - 1 600 EUR

Lot 1611 - AFTER TANG YIN (1470-1524): ‘HEHE ERXIAN’ AFTER TANG YIN (1470-1524): ‘HEHE ERXIAN’ China, early Qing dynasty (1644-1912). Ink and watercolors on paper, mounted on canvas on a stretcher frame. Set inside a frame, behind glass. The twin immortals standing next to each other, dressed in voluminous robes tied at the waist with a black belt looped in a bow, one knot suspending lingzhi mushroom. One twin holding a vase with lotus blossoms and lingzhi, the other carrying a lidded box. Inscriptions: To the top-left, inscribed ‘Spring month of the Yi You year (corresponding to 1489)’ and ‘Tang Ying from Wujun’. Provenance: From an old German private collection, assembled in Berlin after the Second World War, mostly during the late 1940s and early 1950s. Condition: Losses, creasing, tears, abrasions, fading to color and staining. Frame with expected wear. Dimensions: Image size 133 x 67 cm, size incl. frame 140.3 x 74.5 cm Hehe Erxian, translated as the Immortals of Harmony and Union, are two Taoist immortals popularly associated with happy marriages. They are adaptations of two famous poet-monks of the Tang dynasty, Hanshan and Shide. During the Ming and Qing dynasties, the twins were usually depicted holding a box (‘he’) and a lotus stem (‘he’), forming the rebus for harmony (‘he’) and unity (‘he’). They were officially canonized as the God of Harmony and the God of Good Union in the first year of the Yongzheng reign and are widely regarded as gods who bless love between husband and wife. Tang Yin (1470-1523) is one of the most famous painters in the history of Chinese art. He was a pupil of the great Shen Zhou and a friend of Wen Zhengming. Tang Yin is regarded as one of the painting elites, ‘the Four Masters of Ming,’ which also includes Shen Zhou, Wen Zhengming, and Qiu Ying. Tang was also a talented poet and scholar. Together with his contemporaries Wen Zhengming, Zhu Yunming, and Xu Zhenqing, they are known as the ‘Four Literary Masters of the Wuzhong Region’ (in today's Suzhou) or ‘Four Literary Masters of Jiangnan’ (the region on the south of the Yangtze River).

Estim. 250 - 500 EUR

Lot 1612 - FOLLOWER OF YU ZHIDING (1647-1716): ‘SCHOLAR IN AN IMMORTAL LANDSCAPE’ FOLLOWER OF YU ZHIDING (1647-1716): ‘SCHOLAR IN AN IMMORTAL LANDSCAPE’ China, 18 th to 19 th century. Ink, gouache, and watercolors on silk. With a silk brocade mounting and framed behind glass. Finely painted with gushing waterfalls falling from towering mountains into a still river lined with colorful trees, a lone scholar in the valley looking upward to take in the sight. Inscriptions: Upper right, signed, dated, and inscribed, ‘Completed in April of the Year of Gengchen, during the reign of the Emperor Kangxi of the Qing dynasty. Painted at Pai Fu An by Yu Zhiding of Shang-ji, north of Nanjing, across the river Yangtze.’ Two seals. Lower left, two further seals. Provenance: From a private collection in New England, USA. The backside with an old paper label inscribed with a typewriter c. 1980, bearing a translation of the present inscription. Condition: Very good condition with minor wear and little soiling Dimensions: Image size 119 x 54 cm, Size incl. frame 157 x 84 cm Yu Zhiding (1647-1716) was a Chinese painter during the Qing Dynasty (1644–1912) and a native of Jiangdu (present-day Yangzhou) in Jiangsu province. His style name was Shangji and his sobriquet was Shenzai. He served in the Imperial Painting Academy during the reign of the Kangxi Emperor. Auction result comparison: Type: Related Auction: Sotheby’s New York, 21 March 1995, lot 32 Price: USD 13,800 or approx. EUR 26,000 converted and adjusted for inflation at the time of writing Description: Yu Zhiding (1647-1716): Scholars playing chess in an immortal landscape Expert remark: Compare the closely related manner of painting with similar blue and green hues. Note the size (184.8 x 55.2 cm). Auction result comparison: Type: Related Auction: Bonhams San Francisco, 26 June 2019, lot 877 Price: USD 30,075 or approx. EUR 33,500 converted and adjusted for inflation at the time of writing Description: After Yu Zhiding, Land of the Immortals Expert remark: Compare the closely related manner of painting with similar blue and green hues. Note the size (199.4 x 101.6 cm).

Estim. 500 - 1 000 EUR

Lot 1614 - A PAINTING DEPICTING THE BUDDHA’S PARINIRVANA, QING DYNASTY A PAINTING DEPICTING THE BUDDHA’S PARINIRVANA, QING DYNASTY Tibetan-Chinese, 18 th-19 th century. Distemper and gold on cloth. Lying on a raised bed surrounded by a crowd of mourners consisting of celestial beings, bodhisattva, dignitaries and animals lamenting his death. Buddha’s expression is peaceful and serene, his arms slack to his side, his head resting on a pillow. Young magnolia trees shade the buddha with their multi-colored leaves bearing blossoms. The uppermost register depicts a blue and red celestial landscape with a single deity above a river valley. All enclosed with a blue floral border mounted on a silk frame. Provenance: Koller, Zurich, 29 November 2022, lot 179, estimated at CHF 10,000 – CHF 15,000 or approx. EUR 11,500 – 17,250 converted and adjusted for inflation at the time of writing. Condition: Good condition with wear, minor soiling, light fading, creasing, and minor losses to gilding. The silk brocade in fair condition with extensive wear, soiling, loose threads, and small tears. Dimensions: Image size 30.6 x 32.6 cm, Size incl. frame 46 x 49 cm The death of the Buddha, also known as the Buddha’s Parinirvana referring to the Buddha’s enlightenment after death, has been depicted widely in Buddhist iconography and is recounted in the Mahaparinirvana sutra. According to Buddhist tradition, the Buddha died in Kushinagara, Northern India, with the traditional dates of Buddha's life from 566-486 BC. After his death, the Buddha’s body was cremated and distributed among his followers. The stupas that guarded his remains became important pilgrimage sites for Buddhists. The Mahaparinirvana sutra is one of the most important Buddhist scriptures, and it relates the events surrounding the Buddha’s death. The precise date of origin of this text is uncertain, but its early form may have developed in or by the second century CE. The original Sanskrit text is not extant except for a small number of fragments, but it survives in Chinese and Tibetan translation. Expert’s note: The present painting depicts an interesting variation of the popular Parinirvana motif, clearly executed by a Chinese or Tibetan painter as evidenced by the colors, manner of painting, and brocade mounting. Compare with a much earlier version of the same subject, from Japan, dated to the Heian period, 267.6 x 271.2 cm, located at Kongōbu-ji, Mt. Kōya, Wakayama, Japan.

Estim. 3 000 - 6 000 EUR

Lot 1615 - JU LIAN (1828-1904): WEALTH, AND EVERLASTING SPRING JU LIAN (1828-1904): WEALTH, AND EVERLASTING SPRING China, dated 1890. Ink, watercolor, and gouache on paper. Mounted as a hanging scroll, on paper with fabric coated endpieces. Masterfully painted with a large peony blossom and bud sprouting behind hallowed rockwork with a triad of bees flying to pollinate the central blossom. Inscriptions: The upper left-hand corner is signed by the artist, inscribed with the title ‘Wealth and everlasting spring’, the dating ‘autumn of the geng yin year’ (corresponding to 1890), and a dedication note. The lower right-hand corner is sealed with an old collector’s seal. Provenance: From an old private collection in Northern Germany, in the family collection since 1929. Condition: Shows wear, light creasing, minuscule foxing, stains, and some tears and material loss with associated touch-ups, overall displaying well. The mounting has some foxing, creasing, and small tears. Dimensions: Image size 82 x 33 cm, Size incl. mounting 210.5 x 46.5 cm Ju Lian (1828-1904) was a Chinese painter from Panyu, modern day Guangzhou, who painted during the late Qing dynasty. His courtesy name was 'Ancient Spring,’ and his pseudonym was 'Old Man of the Divided Mountain.’ He was the younger brother of the painter Ju Chao and was known for his plant-and-insect and bird-and-flower paintings. Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 26 November 2012, lot 979 Price: HKD 437,500 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: Ju Lian (1828-1904): Peonies and butterflies Expert remark: Compare the related motif albeit with butterflies. Note the smaller size (61.5 x 39.5 cm).

Estim. 400 - 800 EUR

Lot 1616 - ‘BEAUTY IN A GARDEN, WEARING A TIAN-TSUI TIARA’, ZHENG MUKANG (1901-1982), DATED 1941 ‘BEAUTY IN A GARDEN, WEARING A TIAN-TSUI TIARA’, ZHENG MUKANG (1901-1982), DATED 1941 China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Depicting a lady strolling in a garden, framed by a prunus tree and rockwork issuing bamboo, dressed in fine robes tied at the waist and adorned with a blue, flowing scarf. Her hair tied in a high coiffure, wearing a kingfisher feather (Tian-Tsui) tiara. Inscriptions: Top left, dated ‘Three days before the winter solstice in the Year of Xingsi’ (corresponding to 1941), signed ‘Mukang Zheng Shixuan’. Two seals ‘Zheng Mukang yin’ and ‘Mukang Shuhua’. Provenance: From a European private collection. Condition: Good condition with some wear, creasing, and little staining. Dimensions: Image size 66.7 x 42.5 cm, Size incl. mounting 171.5 x 56.5 cm Zheng Mukang (1901-1982) was a Chinese painter born in Chaoyang, Guangdong Province. He was an apprentice to several notable artists before becoming a teacher of Chinese Painting at the Shanghai Art School. He is well-known for his gongbi (meticulous) style renditions of Chinese beauties. Tian-Tsui is a style of Chinese art featuring kingfisher feathers. For 2,000 years, the Chinese have been using the iridescent blue feathers of kingfisher birds as an inlay for fine art objects and adornment, from hairpins, headdresses, and fans to panels and screens. Kingfisher feathers are painstakingly cut and glued onto gilt silver. The effect is like cloisonné, but no enamel was able to rival the electric blue color. Blue is the traditional favorite color in China. Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 29 May 2018, lot 1466 Price: HKD 75,000 or approx. EUR 9,700 converted and adjusted for inflation at the time of writing Description: Zheng Mukang (1901-1982), Lady Reading Expert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and fine brushwork. Note the size (98 x 42.8 cm). Auction result comparison: Type: Related Auction: Bonhams San Francisco, 10 December 2012, lot 5323 Price: USD 12,500 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: Zheng Mukang (1901-1982), Beauty Under a Willow Expert remark: Compare the related motif, also wearing a Tian-Tsui tiara, the composition, and size (68 x 35.6 cm).

Estim. 500 - 1 000 EUR

Lot 1625 - A FINE SET WITH EIGHT CHINESE ‘ROBE’ PAINTINGS, LATE 19TH CENTURY A FINE SET WITH EIGHT CHINESE ‘ROBE’ PAINTINGS, LATE 19TH CENTURY China, late Qing Dynasty (1644-1912). Ink, gouache, and watercolors on paper. Mounted on silk brocade frames and set in a black lacquer frame, behind glass. Each painting stamped with two red seals. Finely painted, the informal white wedding garment decorated along the body and hems with red ‘double happiness ‘characters as well as lotus blossoms born on thick stems baring bright green lotus pads. A brown-ground informal women’s robe, decorated with white prunus blossoms and floral medallions, the black hems with a yellow lining within a beige border, and the blue sleeve hems with red birds and flowers. A glossy dark brown-ground silk robe four five-clawed dragons amid swirling clouds above the celestial diagram. The hems and color with a white ground and floral patterns. An imperial robe with the crane rank badge, buzi, surrounded by Shou characters, all above the celestial diagram and crashing waves and peony. Finely painted, the simple brown robe with three roundels of bats, lingzhi-shaped clouds, enclosing a red Shou character, all above crashing waves and a large celestial diagram with chrysanthemum blossoms and jewels. The blue-ground robe with pale green butterflies, peony, bats, and roundels enclosing butterflies and peony, and the hem with animals, pine trees, and lotus blossoms above crashing waves. The brown summer robe with short sleeves and a repeated pattern of yellow flowers sprouting from orange roots which is repeated along the black-ground hems Finely painted, the black-ground robe with yellow peaches, pomegranate, and Buddha’s hand citron born on leafy branches enclosed in a key-fret hem. The lining of the robe is pale pink. Inscriptions: Each sealed to left register, ‘Shi Fang.’ Provenance: English private collection, acquired in Hong Kong in 1970s. Condition: Each in very good condition with minor wear, light soiling, and minimal foxing. The black lacquer fames in good condition with small nicks and few small cracks. Dimensions: Image size ca. 32.4 x 35.2 (each), Size incl. frame ca. 50 x 53.5 cm (each)

Estim. 600 - 1 200 EUR

Lot 1634 - WU ZUOREN (1908-1997): ‘GOLDFISH IN A LOTUS POND’ WU ZUOREN (1908-1997): ‘GOLDFISH IN A LOTUS POND’ China, 20 th century. Ink and watercolors on paper, laid down on paper. Finely painted with a red and a black goldfish, each with trailing trifurcated tails, frolicking beneath three lily pads and yellow lotus blossoms. Inscriptions: To the right-hand edge, signed ‘Zuoren’, dated ‘In the spring of 1979’, and titled ‘By the pond’. Sealed on the upper left edge, ‘Yuushui,’ and to the bottom right corner, ‘Wu Zuoren.’ Provenance: From a private collection in Houston, Texas, USA. Condition: Very good condition with minor wear, light soiling, and some foxing. Dimensions: Image size 34 x 22.8 cm, Size incl. frame 40 x 28.8 cm Wu Zuoren (1908-1997) was a Chinese painter. Born in Suzhou, Jiangsu province, he successfully practiced both traditional Chinese ink painting and European oil painting. His ability was recognized by Xu Beihong while he studied in the department of fine arts at Shanghai Art University in 1927, and one year later he followed Xu to study at the National Central University (renamed Nanjing University in 1949). In 1930 he traveled abroad to study in Europe, returning to China in 1935. With the establishment of the People's Republic of China, Wu joined the China Artists Association, later elected as vice president. In 1949 he also became a professor and the first provost of the China Central Academy of Fine Arts. Presented with the opportunity to design postage stamps for the People’s Republic, he designed the famous Giant Panda stamps first issued in 1963, which established the giant panda as the emblem of the new China. Wu Zuoren founded and endowed the Wu Zuoren International Foundation of Fine Arts. Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 9 October 2014, lot 2 Price: HKD 187,500 or approx. EUR 27,000 converted and adjusted for inflation at the time of writing Description: Wu Zuoren (1908-1997): Amusement of Goldfish Expert remark: Compare the closely related motif, style, and calligraphy on this painting dated 1977. Note the size (41 x 34.5 cm). Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 28 February 2023, lot 71 Price: HKD 113,400 or approx. EUR 13,000 converted at the time of writing Description: Wu Zuoren (1908-1997): Gold fishes Expert remark: Compare the closely related motif with two goldfish swimming beneath lily pads. Note the size (53.3 x 27 cm) and that the painting is not dated.

Estim. 1 500 - 3 000 EUR

Lot 1637 - ‘PEONY’, FOLLOWER OF ZHANG DAQIAN (1899-1983) ‘PEONY’, FOLLOWER OF ZHANG DAQIAN (1899-1983) China, 20th century. Ink and watercolors on paper. Mounted and framed behind glass. Painted in the artist’s characteristic style with a pink peony blossom borne on a leafy stem. Inscriptions: To the top, inscribed with a poem about pausing to enjoy the view. Signed ‘Daqian’ with five seals. Condition: Very good condition with wear and minor browning of paper, some water stains. Provenance: English trade. Dimensions: Image size 31 x 43.5 cm, Size incl. frame 53.3 x 76 cm Zhang Daqian (1899-1983) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he is regarded as one of the most gifted master forgers of the twentieth century. After the Communist Revolution in 1949, he left China and spent years living in South and North America, extensively touring Northern California. Chang’s first California solo exhibition in 1967 at Stanford University attracted an opening reception crowd of a thousand. Finally, he settled in Taipei, Taiwan in 1978. During his years of wandering, he had several wives simultaneously, curried favor with influential people, and maintained a large entourage of relatives and supporters. He also kept a pet gibbon. He affected the long robe and long beard of a traditional Chinese scholar.

Estim. 400 - 800 EUR

Lot 1638 - A FAN PAINTED WITH A SNOWY LANDSCAPE, AFTER WANG HUI, c 1900s A FAN PAINTED WITH A SNOWY LANDSCAPE, AFTER WANG HUI, c 1900s China, after Wang Hui (1632-1717) but dating to the late 19th to early 20th century. Ink, watercolors, and gouache on a paper folding fan. Finely painted to depict a snow-covered landscape with layers of snow piled atop pavilions and pine trees. The verso with calligraphy. Inscriptions: Inscribed to the painting, ‘The mountains are covered with snow’ 连山积雪 , further inscribed, ‘Painting a Winter Scene in the Summer Months in 1705 by Wang, the Plow and Smoke Scatterer’ 乙酉夏月写寒意 , 耕烟散人王翚 . Two seals, ‘Shigu’ 石谷 and ‘wanghui zhi yin’ 王翚之印 . The verso signed with seals ‘Wang Su’ 王素 and Xiao Mou 小某 and inscribed with a poem, ‘The snow has fallen into the forest, and the woodcutter's songs are sung all over the land in the twilight/ the high pavilion is leaning on the sky and the monks want to settle down, while the bells on one side of the pavilion are scattered with the voices of the people who know them/ the spring smoke on the rock, the wind on the rock, a thousand branches of snow with clouds closed/ at dawn, I suddenly lost the color of the green mountains, and I was in the middle of ten thousand plum blossom trees.’ Provenance: Swiss private collection. Condition: Good condition with minor wear and soiling, few small tears along the folds, minimal losses and some soiling. Dimensions: Length 60 cm, Height 20 cm (the painting) and 33.5 cm (the frame) Wang Hui (1632-1717) was a Chinese landscape painter, one of the Four Wangs. He and the three other Wangs dominated orthodox art in China throughout the late Ming and early Qing periods. Of the Four Wangs, Wang Hui is considered the best-known today. Museum comparison: Compare a related folding fan mounted as an album leaf, by Wang Hui, depicting a landscape, in the collection of the Metropolitan Museum of Art, accession number 1989.363.144.

Estim. 700 - 1 400 EUR

Lot 1642 - A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner. Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.' Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie’s Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000. Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner. Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cm Laid down on paper with protective cover.

Estim. 150 - 300 EUR

Lot 1646 - SIMON BIRCH (BORN 1969): CITIES ON THE MOVE-I SIMON BIRCH (BORN 1969): CITIES ON THE MOVE-I Hong Kong, c. 2004. Oil on canvas. Expressively painted with a barefoot woman caught mid-stride, the shadows and colors rendered to enhance her toned body as she gracefully moves forward. Inscriptions: To the bottom-right signed, ‘Birch’. The reverse with an abstract seal. Provenance: Gajah Gallery, Singapore, 2004. Austrian private collection, acquired from the above. A copy of the certificate of authenticity, stating that Gajah Gallery sold the present lot on 4 August 2004, accompanies this lot. Condition: Very good condition with minor surface wear. Dimensions: Size 200.5 x 115 cm Simon Birch was born in Brighton, England in 1969, and has lived and worked in Hong Kong for over twenty years. Birch has won the 2007 Louis Vuitton Asian Art award and is represented internationally by London gallery, Ben Brown Fine Arts. His work has been featured and reviewed in many international publications, including Artforum, The Guardian, The International Herald Tribune, Time Out and the New York Times. Birch has had solo exhibitions in Beijing, Miami, and Singapore and has participated in group shows at the Hong Kong Museum of Art and the Museum of Contemporary Art, Tokyo, and has been included in the Los Angeles Museum of Contemporary Art’s (LACMA) permanent collection. Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 22 December 2021, lot 18 Price: HKD 138,600 or approx. EUR 17,500 converted and adjusted for inflation at the time of writing Description: Simon Birch, Untitled Expert remark: Note the size (216 x 174.8 cm).

Estim. 2 000 - 4 000 EUR

Lot 1649 - A LIU QING ‘KINGFISHER AND LOTUS’ BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944 A LIU QING ‘KINGFISHER AND LOTUS’ BAMBOO WRISTREST BY XU YAN, CHINA, DATED 1944 Expert’s note: The highly intricate technique of liu qing demands an exceptional level of skill, leaving absolutely no margin for error as the artist delicately carves away the negative space of the yellow-green skin to unveil the desired scene amongst the darker and more fibrous inner layer. The stunning result creates an effect of traditional Chinese brush and ink painting. Exquisitely carved on the convex side in the liu qing technique, partially reserving the bamboo skin, to depict a resting kingfisher beside a pond with a large lotus blossom as well as furled leaves, lily pads, and two fish. Inscriptions: Left, signed and dated ‘Xu Yan in the Spring of 1944’, and titled ‘Lotus Pond Pleasure’. Two seals of the artist. Lower right, one seal of the artist. Provenance: Chicago trade. Condition: Good condition with minor old wear, expected age cracks, few tiny losses. Weight: 193.4 g Dimensions: Length 32.2 cm Wristrests have been used for centuries in Chinese calligraphy and painting, and they continue to be valued by artists who practice these traditional art forms. They serve as practical tools allowing the artist to make delicate brushstrokes or intricate calligraphy, also alleviating fatigue by providing a comfortable position and reducing strain on the muscles and tendons of the hand and wrist. The pairing of a kingfisher and lotus has been a popular theme in Chinese art and literature for centuries. The kingfisher, revered for its vibrant and iridescent feathers, is seen as an auspicious symbol of prosperity and believed to possess protective qualities against evil spirits and misfortune. The lotus, with its ability to emerge from murky waters and blossom into a beautiful flower, is seen as a metaphor for resilience and strength in the face of adversity. Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 26 May 2013, lot 11 Price: HKD 100,000 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A finely carved bamboo 'bird and lotus' wristrest, signed Xu Subai (1909-1975) Expert remark: Compare the closely related wrist rest form, bird and lotus subject, and liu qing technique. Note the smaller size (27 cm).

Estim. 250 - 500 EUR

Lot 1653 - Ɏ AN INLAID ZITAN ‘IRIS’ WRIST REST, QING DYNASTY Ɏ AN INLAID ZITAN ‘IRIS’ WRIST REST, QING DYNASTY China, 18 th-19 th century. Of rectangular form, the domed top finely carved in relief with iris and grass growing from rockwork, the flowerheads neatly inlaid in ivory. The zitan wood of an attractive grain with characteristic crab claw marks and an elegant and dark reddish color. Provenance: Old Dutch private collection. Condition: Very good condition with minor wear, a natural flaw in the wood with a minor touchup. Good, naturally grown patina. The wood case with nicks and expected age cracks, lacking the lid. CITES certificate: A stamped and signed CITES certificate - valid in the EU - issued by the Ministry of Agriculture, Nature and Food Quality, CITES Management Authority, in The Hague, Netherlands, no. 22NL307763/20, dated 8 May 2022, was granted and a copy of the document accompanies this lot. Weight: 199.2 g Dimensions: Length 21.7 cm With an old paulownia wood case. (2) Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 1 June 2018, lot 329 Price: HKD 32,500 or approx. EUR 4,300 converted and adjusted for inflation at the time of writing Description: An inscribed zitan 'luohan' wristrest, late Qing dynasty Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number 22NL307763/20). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

Estim. 350 - 700 EUR
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