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5th BANRI Auction

5th BANRI Auction

Live

Il martedì 27 ottobre | 04:00 AM (12:00 PM Tokyo)

, Ripresa alle 16:00

Banri Auction

+81 3 3465 5365 info@banri-auction.co.jp

Ginza Yokyo Hall 104-0061, Tokyo

386 risultati

A Tenmoku glaze ware tea bowl The Jian kilns of Ji

1 - A Tenmoku glaze ware tea bowl The Jian kilns of Jianyang in Fujian province are celebrated for their black-glazed tea bowls, known in Chinese as jianzhan. In Japan, where they have been treasured for centuries under the name tenmoku, these bowls became central to the practice of whisking powdered green tea (matcha). The present example displays the deep, lustrous black glaze and robust potting typical of Jian ware at its finest. H: 4.5cm D: 9.5cm Wooden box China Southern Song Dynasty

Stima

1100 - 2.300 €

A Tenmoku glaze ware tea bowl A Jian ware tenmoku

2 - A Tenmoku glaze ware tea bowl A Jian ware tenmoku tea bowl covered in a lustrous jet-black glaze. The deep tones and powerful form are characteristic of the finest tenmoku ware. H: 7.1cm D: 12.4cm Signs of repair on the rim. Wooden box China Southern Song Dynasty

Stima

850 - 2.000 €

A cinnabar lacquer ware tea bowl stand A tenmokuda

3 - A cinnabar lacquer ware tea bowl stand A tenmokudai (stand for a tenmoku tea bowl) coated in red lacquer. The well-proportioned form and the vivid tone of the lacquer combine to striking effect. In the tea ceremony, the tenmokudai serves to elevate and complement the tenmoku tea bowl. H: 7.2cm D: 17cm Wooden box China

Stima

1000 - 2.200 €

A blue and white ware tea caddy, with figures desi

4 - A blue and white ware tea caddy, with figures design The arrangement of a figure within a bamboo grove creates a tranquil scene, rich in poetic feeling. The pairing of a bamboo grove and a figure evocative of a lofty scholar (koji) conveys a distinct literati sensibility, condensing the flavour of Chinese painting onto the small surface of a chaire (tea caddy). H: 8.5cm D: 5cm Wooden box China, Qing Dynasty

Stima

680 - 1.300 €

A pewter tea caddy A hexagonal tea caddy with an o

5 - A pewter tea caddy A hexagonal tea caddy with an old pewter frame of aged character, combined with karaki (exotic hardwood), with a mark to the base. H: 9.7cm weight: 296 g China

Stima

280 - 860 €

A Zitan hardwood tea scaler, with incised ' figure

6 - A Zitan hardwood tea scaler, with incised ' figure in pavilions' design A zitan (rosewood) tea measure (chahe), carved with a landscape scene of pavilions and figures. Signed Ting Hong. L: 24.6cm W: 6.7cm Wooden box China, Ming Dynasty

Stima

2800 - 4.600 €

A tin metal storage jar and cover, with 'Anffa' mo

7 - A tin metal storage jar and cover, with 'Anffa' moulded design An old pewter tea caddy, its floral pattern painted discreetly over the entire surface. Marked Dian Tong. H: 21cm D: 17cm weight: 1801g Wooden box China

Stima

280 - 860 €

A Hongtang ware chestnut glaze tea caddy A brown-g

8 - A Hongtang ware chestnut glaze tea caddy A brown-glazed tea caddy of the Hongtang kilns, produced during the Southern Song to Yuan period. Despite its compact scale, the body swells to a generous volume, and the taut, neatly finished rim completes a form of quiet assurance. A deep chestnut-brown glaze, rich and even, envelops the thinly potted walls. H:6 cm Caliber:6 cm Wooden box China Song Dynasty

Stima

560 - 1.200 €

A Hongtang kilnchest-nut glaze tea caddy A thin-bo

9 - A Hongtang kilnchest-nut glaze tea caddy A thin-bodied, brown-glazed ware of the Hongtang kilns, produced between the Southern Song and Yuan dynasties. The fine clay body is glazed in tones ranging from brown to blackish-brown; the gradations and natural running of the glaze, formed during firing, create the keshiki (scenic visual interest) that gives the piece its particular appeal. H: 5.5cm D: 6.8cm Wooden box China Song Dynasty

Stima

560 - 1.200 €

A Hongtang ware jar A jar of the Hongtang kilns, d

10 - A Hongtang ware jar A jar of the Hongtang kilns, dating to the Southern Song or Yuan dynasty. The thinly potted body rises to a full, swelling profile and is covered in a warm brown glaze. The accomplished potting and restrained form are characteristic of Hongtang production. H: 10.3cm D: 13.5cm Wooden box China Song Dynasty

Stima

1400 - 2.600 €

A boxwood scholar's table, with incised mythologic

11 - A boxwood scholar's table, with incised mythological 'Taotie' design A scholar's table carved from boxwood and raised on four legs. Around its sides runs a continuous band of carving in imitation of the taotie motif — the fearsome mask found on ancient Chinese ritual bronzes — lending the table an air of scholarly antiquity and quiet authority. W: 17.5cm H: 9cm Wooden box China, Qing Dynasty

Stima

1900 - 3.200 €

A Zhuni style 'Mixed red sand' clay ware teapot A

12 - A Zhuni style 'Mixed red sand' clay ware teapot A chōsha zhuni teapot — zhuni clay blended with fine grains of sand that give the surface its distinctive gritty texture. The warm reddish-brown body, characteristic of zhuni, is animated by the visible sand particles, producing an appearance at once rustic and deeply characterful. W: 9.6cm H: 6.8cm China

Stima

1400 - 2.600 €

A 'Mixed red sand' clay style ware teapot Of refin

13 - A 'Mixed red sand' clay style ware teapot Of refined, well-balanced form, the teapot displays the warm, lustrous surface characteristic of zhuni clay. The base is incised with the inscription Liu Shui Yi Yi Ren (流水以怡人 — flowing water delights the heart), signed Yigong (逸公). W: 6.3cm H: 4.3cm China

Stima

1100 - 2.300 €

A pair of 'Mixed red sand' clay style teapots A pa

14 - A pair of 'Mixed red sand' clay style teapots A pair of zhuni (vermilion-clay) teapots, marked Wu De Sheng Zhi (made by Wudesheng). "Wude Sheng" is a workshop name known as a distinguished Yixing zisha ("purple sand") studio, a celebrated teapot workshop active during the Republican period. W: 9cm H: 6.5cm × 2 with a chip to one cover. China

Stima

850 - 2.000 €

An incised 'Tsuikoku' black lacquer plate, with 'G

15 - An incised 'Tsuikoku' black lacquer plate, with 'Guri' pattern design A large Yuan-dynasty tsuikoku (carved black lacquer) plate. Thick layers of black lacquer have been deeply carved across the entire surface to produce a flowing guri scroll pattern. The forceful knife marks and the strong sense of depth created by shadow harmonise with the bold design animating the lustrous black ground — a piece that is at once imposing and supremely accomplished.

Stima

6800 - 13.000 €

An incised black lacquer meiping vase, with 'bird

16 - An incised black lacquer meiping vase, with 'bird and flower' design Thick layers of black lacquer have been built up and then deeply carved to depict a bird-and-flower scene that fills the entire surface. The meiping form — broad at the shoulder and tapering gracefully toward the foot — provides an ideal field for the composition, in which flowering plants and birds are arranged with a painter's eye, evoking the atmosphere of a fine flower-and-bird painting. H: 51.2cm D: 30.5cm Has chi

Stima

3400 - 6.900 €

A black lacquer wall vase, with gilt gold decorati

17 - A black lacquer wall vase, with gilt gold decoration design Gold decoration set against a deep, lustrous black lacquer ground creates a vivid contrast, bringing a note of splendour to the vessel’s restrained form. The rich texture of the black lacquer and the brilliance of the gold ornament work in harmony, making this a refined and accomplished hanging flower vase — at once practical for the tea room or interior display and a pleasure to contemplate. Carved by Zhao Yunwang. L: 24.5cm W: 11.

Stima

280 - 860 €

A Mother-of-pearl inlaid tray for a hanging scroll

18 - A Mother-of-pearl inlaid tray for a hanging scroll, decorated with a figure beneath a pine tree Fragments of shell are finely inlaid into a ground of black lacquer to depict a figure standing beneath pine trees. The pine's branches and needles are rendered with graceful, flowing lines, and the figure placed beneath them together form an elegant scene reminiscent of a tranquil landscape painting. Signed Beizan. W: 36cm H: 2.4cm D: 13.7cm China, Qing Dynasty

Stima

850 - 2.000 €

A Mother-of-pearl inlaid rectangular scholar's tab

19 - A Mother-of-pearl inlaid rectangular scholar's table, with figures in landscape design Tiny fragments of shell have been set into a ground of jet-black lacquer to depict a landscape populated with figures. Pavilions, trees and distant mountains are arranged across the surface with a painter's sensibility, and the iridescent shimmer characteristic of raden picks out each element against the dark ground, conjuring a scene of remarkable depth. W: 85.8cm H: 25.5cm D: 47.5cm China, Qing Dyn

Stima

1400 - 2.600 €

A pair of Mother-of-pearl inlaid lacquer ware duck

20 - A pair of Mother-of-pearl inlaid lacquer ware ducks A pair of duck-form ornaments, the entire body covered in mother-of-pearl (aogai) inlay. Four-character mark reading Qianlong Yu Wan (for the Qianlong Emperor's pleasure). L: 12cm H: 8.3cm ×3 Wooden box China, Qing Dynasty

Stima

1400 - 2.600 €

A Kangxi mother-of-pearl inlaid square high table

21 - A Kangxi mother-of-pearl inlaid square high table A square high table decorated using the technique of raden, in which fragments of shell are inlaid into a ground such as black lacquer. The decorative beauty unique to raden's iridescent lustre, in harmony with the stable, four-legged structure, lends the piece an air of refinement befitting furniture meant to grace an interior space. L: 27cm W: 27cm H: 49cm Discoloration to the column Wooden box Formerly in the collection of the Kaisendō M

Stima

6800 - 13.000 €

An incised cinnabar lacquer small incense box and

22 - An incised cinnabar lacquer small incense box and cover, with an equestrian design Carved through thick layers of red lacquer, this small incense box depicts a horseman set within a landscape of trees and rocky terrain. The figure and mount are captured through fluid incised lines and deeply sculptural carving, the whole composition recalling the atmosphere of a painted handscroll. H: 3.5cm D: 6.7cm China, Qing Dynasty

Stima

1400 - 2.600 €

An incised 'Guri' black lacquer ware small incense

23 - An incised 'Guri' black lacquer ware small incense box and cover A small kōgō (incense box) carved with bold, deeply sculptural guri scrollwork through the layers of black lacquer. Despite its diminutive size, the piece displays a striking sense of scale and vigour in its carving. H: 3cm D: 5cm Wooden box China, Qing Dynasty

Stima

280 - 860 €

An incised cinnabar lacquer ware square tray, with

24 - An incised cinnabar lacquer ware square tray, with figures in pavilions design A tsuishu square tray carved through numerous layers of red lacquer. Pavilions and figures are brought into relief across the surface, the fine detail of the architecture, foliage and human forms set against the vivid red ground to unfold a narrative scene of considerable richness. L: 12.3cm W: 12.3cm H: 2.7cm China, Qing Dynasty

Stima

1900 - 3.200 €

A red-lacquer pedestal for a Buddhist image, with

25 - A red-lacquer pedestal for a Buddhist image, with weeds and flowers design A red-lacquered Buddhist figure pedestal, decorated in gilt with floral and scrolling foliage motifs, marked Qianlong Nian Zhi; with minor areas of cracking. L: 22cm W: 40cm H: 7cm Has cracks. Wooden box China, Qing Dynasty

Stima

2800 - 4.600 €

A set of five Mother-of-pearl inlaid small dishes,

26 - A set of five Mother-of-pearl inlaid small dishes, with peony and Buddhist lion design A set of five dishes inlaid with the celebrated pairing of karajishi and botan — the Chinese lion and peony — in which each motif heightens the other's symbolic force: the lion embodying power and the peony standing for nobility and beauty. Together they form one of the most auspicious compositions in East Asian decorative art. H: 2cm D: 11.3cm × 5 Wooden box China, Qing Dynasty

Stima

280 - 860 €

A Mother-of-pearl inlaid lacquer ware tray, with l

27 - A Mother-of-pearl inlaid lacquer ware tray, with landscape design Against a ground of deep black lacquer, fragments of shell render pavilions, trees and a rolling landscape in fine raden inlay. The iridescent quality of the shell combines with a painterly sense of composition, the shimmering imagery emerging from the dark ground with considerable visual depth. L: 20.8cm W: 20.8cm H: 2.3cm China, Qing Dynasty

Stima

850 - 2.000 €

A Mother-of-pearl inlaid lacquer ware rectangular

28 - A Mother-of-pearl inlaid lacquer ware rectangular table, with incised Chinese poems design Fragments of shell are set into a ground of deep black lacquer to render a Chinese poem in flowing calligraphic script. Although conceived for practical use, the table doubles as a highly decorative object, well suited to adorn a study or reception room. W: 53cm H: 12cm D: 32cm China, Qing Dynasty

Stima

560 - 1.800 €

A 'Guri' black lacquer ware small incense box and

29 - A 'Guri' black lacquer ware small incense box and cover A tsuikoku (carved black lacquer) incense box (kōgō), the substantial jet-black ground boldly carved with a guri design. The forceful carving, evocative of blade marks, and the deep lustre of the lacquer give the piece a commanding presence. With a small chip. H: 3.3cm D: 9.7cm with a minor chip. Wooden box China, Qing Dynasty

Stima

850 - 2.000 €

An incised cinnabar lacquer ware square tray, with

30 - An incised cinnabar lacquer ware square tray, with dragons design This square red lacquer tray is decorated at its centre with a large dragon set against a ground of diapered lozenges and waves. The everted rim is encircled by a dense peony scroll, lending the piece overall decorative splendor. Every motif is rendered in fine incised lines filled with gold, their brilliance forming a beautiful contrast against the lustrous red lacquer ground. L: 21.4cm W: 21.4cm H: 2.7cm Wooden box Chin

Stima

680 - 1.300 €

A 'Zonsei' red lacquer ware rectangular scholar's

31 - A 'Zonsei' red lacquer ware rectangular scholar's table, with birds and flowers design A rectangular table in the zonsei (incised and polychrome-filled lacquer) technique, its surface decorated with a bird-and-flower composition. The interplay of colour and fine incised detail brings the floral motifs to life. With some minor chips to the lacquer surface. L: 54cm W: 29.5cm H: 14cm Chips are visible. China, Qing Dynasty

Stima

450 - 1.100 €

A 'Shibayama' lacquer ware panel, with figures des

32 - A 'Shibayama' lacquer ware panel, with figures design A framed panel lavishly decorated in maki-e lacquerwork with Shibayama-style inlay — shell, coral, ivory and coloured materials set into the lacquer ground to build up a richly textured scene. The composition depicts figures within a Chinese-style landscape, the varied materials lending the surface an opulent, jewel-like quality. Internal dimensions： L: 36cm W: 48cm External dimensions： L: 52.3cm W: 64.3cm Japan, Meiji era

Stima

6800 - 13.000 €

A carved bamboo seated figure of Luohan A seated l

33 - A carved bamboo seated figure of Luohan A seated luohan carved in bamboo, the facial expression rendered with meditative calm and the folds of the robe picked out in fine detail. The wooden stand is carved separately. China, Qing dynasty. W: 15cm H: 15cm Total height: 18.5cm China, Qing Dynasty

Stima

1700 - 3.500 €

A wood-encased stone seated figure of Guanyin A se

34 - A wood-encased stone seated figure of Guanyin A seated figure of the bodhisattva Guanyin (Avalokiteśvara), fashioned from mubaoshi — a natural formation in which wood has grown to envelop a stone. The sculptor has worked with, rather than against, this organic encasement, allowing the interplay of wood and stone to shape the figure's contemplative form. H: 16cm Wooden box China, Qing Dynasty

Stima

280 - 860 €

An incised cinnabar lacquer "figures" brush A tsui

35 - An incised cinnabar lacquer "figures" brush A tsuishu brush carved through layers of red lacquer, the upper section bearing incised verse and the lower section a figural scene. The cylindrical form of the brush handle provides a continuous field for the decoration, which wraps around the shaft in finely detailed relief. L: 24cm Wooden box China, Qing Dynasty

Stima

1900 - 3.800 €

A malachite brush rest and a Peking glass brush re

36 - A malachite brush rest and a Peking glass brush rest Two brush rests, one of malachite and one of liaoqi glass. The malachite example makes use of the stone's natural green banding, while the liaoqi example is reddish-brown in tone, worked to suggest the banded colouring of natural stone; the malachite example is inscribed Dan Ping Hua Luo, Yan Chi Xiang (膽瓶花落，研池香 — "flowers fall in play from the vase; the inkstone's pool grows fragrant"). The malachite example has been restore

Stima

1100 - 2.300 €

A cloisonné enamel "dragon" ink rest Worked in clo

37 - A cloisonné enamel "dragon" ink rest Worked in cloisonné enamel over a metal body, the ink rest is decorated with a pair of dragons finely rendered in lustrous enamels. The dragon, an auspicious motif symbolising might and authority, is well suited to a scholar's implement. Four-character mark of Qianlong and probably of the period. W: 14.8cm H: 2.3cm D: 5.9cm China, Qing Dynasty

Stima

1700 - 3.500 €

A Tianhuang stone seal, carved in "boyi" technique

38 - A Tianhuang stone seal, carved in "boyi" technique Tianhuang dongshi — a variety of Shoushan stone prized above all others for seal carving. This example displays notable translucency and possesses the six traditional virtues (liu de) by which the finest tianhuang is judged: refinement, smoothness, warmth, lustre, compactness and firmness. L: 1.8cm W: 1.4cm H: 2.9cm weight: 15g Case China, Qing Dynasty

Stima

1700 - 3.500 €

A Tianhuang stone seal, surmounted by a lion A sea

39 - A Tianhuang stone seal, surmounted by a lion A seal of tianhuangdong (“frozen” Tianhuang stone) with a lion-form knob. The stone displays the warm, smooth texture and faint translucency for which tianhuangdong is prized. The lion crowning the seal is carved fully in the round; its stately pose carries an underlying vitality. Carved by Liuzhou. H: 5.1cm weight: 30.7g Case China, Qing Dynasty

Stima

1100 - 2.300 €

Two Tianhuang stone seals, each surmounted by a li

40 - Two Tianhuang stone seals, each surmounted by a lion Two tianhuang stone seals, each fitted with a lion-form knob carved with powerful technique. Carved by Zhao Guni and Deng Sanmu. ①H: 4.2cm weight: 39.7g ②H: 6cm weight: 81.4g China, Qing Dynasty

Stima

1400 - 3.200 €

A Tianhuang stone "dragon" seal A seal of tianhuan

41 - A Tianhuang stone "dragon" seal A seal of tianhuang stone in a warm, yellowish-brown tone. The fine, dense texture and natural colouring characteristic of tianhuang are put to full advantage in the dragon design rendered on the body of the seal — a work of quiet distinction. Carved by Lin Gao. W: 4.1cm H: 6.5cm D: 2cm weight: 146.4g Wooden box China, Qing Dynasty

Stima

2500 - 4.300 €

A Shoushan stone seal, the finial carved as a lion

42 - A Shoushan stone seal, the finial carved as a lion The lion is rendered in vivid three-dimensional form, its imposing bearing powerfully conveyed; the vigour of the carving and the inherent character of the stone harmonise beautifully. L: 2.5cm W: 2.5cm H: 6.4cm China, Qing Dynasty

Stima

280 - 860 €

A Duanxi inkstone, carved with an auspicious beast

43 - A Duanxi inkstone, carved with an auspicious beast Duan stone, quarried at Zhaoqing (formerly Duanzhou) in Guangdong province, has been esteemed as an inkstone material since antiquity. Here the ink pool (yanhai) is carved in the form of a ruishou — an auspicious mythical beast — whose powerful presence transforms a functional scholar's object into a work of sculptural art. L: 20.2cm W: 16.5cm H: 2cm China, Qing Dynasty

Stima

280 - 860 €

A Duanxi inkstone in the form of a Buddha's-hand c

44 - A Duanxi inkstone in the form of a Buddha's-hand citron Carved from Duan stone in the form of a Buddha's-hand citron (foshougan), a fruit favored in Chinese art as an auspicious motif, its name punning on fu ("blessing"). The carving extends to the reverse as well as the front. L: 21cm W: 12.5cm H: 3.9cm China, Qing Dynasty

Stima

2200 - 4.000 €

An inkstone with a cover, carved with a Chinese po

45 - An inkstone with a cover, carved with a Chinese poem and lingzhi The cover is carved with a lingzhi (auspicious fungus) design and incised with the inscription Xin Si Qiu Ri, Qiu Qin Chu Shi (辛巳秋日秋琴處士 — "an autumn day of the xinsi year; signed Qiuqin Chushi, recluse of the autumn zither"). The specific year corresponding to the cyclical date has not been confirmed. L: 18.3cm W: 12cm H: 5.7cm China, Qing Dynasty

Stima

850 - 1.500 €

A pair of marble wall panels A pair of wall panels

46 - A pair of marble wall panels A pair of wall panels, each set with marble slabs whose natural cloud-like veining suggests distant landscapes, arranged within eight window-like openings in the wooden frame. The stone's accidental imagery invites contemplation in the literati tradition of finding landscapes in nature. With a small crack to the wooden frame. W: 29.6cm H: 113cm ×2 with cracks to the wooden panel. China, Qing Dynasty

Stima

280 - 860 €

A mottled-bamboo (banzhu) Liangping bamboo curtain

47 - A mottled-bamboo (banzhu) Liangping bamboo curtain (screen). A Liangping bamboo curtain woven from beautifully mottled bamboo. The delicate design created by the fine, precise weaving of bamboo strips harmonises with the natural character of the bamboo material itself. L: 172.5cm W: 52cm ×2 Wooden box China, Ming Dynasty

Stima

850 - 2.000 €

Taishan jingangjing (The Diamond Sutra at Mount Ta

48 - Taishan jingangjing (The Diamond Sutra at Mount Tai), an early rubbing, eleven characters A set of eleven rubbings taken from the monumental characters of the Diamond Sutra carved into the rock face of Mount Tai in Shandong province — one of the most celebrated examples of large-scale stone-carved calligraphy in China. Each character is individually framed. Uneven sizes China

Stima

850 - 1.500 €

Taishan jingangjing (The Diamond Sutra at Mount Ta

49 - Taishan jingangjing (The Diamond Sutra at Mount Tai), an early rubbing, six characters A set of six rubbings from the Diamond Sutra inscriptions carved into the rock face of Mount Tai in Shandong province, each individually framed. These monumental characters, attributed to the Northern Qi period, rank among the most revered examples of stone-carved calligraphy in China. Uneven sizes China

Stima

280 - 690 €

Seven rubbings of zaoxiangji (dedicatory inscripti

50 - Seven rubbings of zaoxiangji (dedicatory inscriptions) from the Longmen Grottoes Seven rubbings of dedicatory inscriptions (zaoxiangji) from the Longmen Grottoes at Luoyang, Henan province. The Longmen inscriptions are a primary source for the study of Northern Wei calligraphy, and their bold, angular script has profoundly influenced Chinese calligraphic practice. Uneven size ×7 China

Stima

280 - 860 €

A group of rubbings A collection of old rubbings a

51 - A group of rubbings A collection of old rubbings assembled from Chinese stone inscriptions and offered together as a single lot. The group encompasses a variety of calligraphic styles and periods. Uneven sizes China

Stima

280 - 860 €

Wu Changshuo (China, Qing dynasty, 1844-1927) Wu C

52 - Wu Changshuo (China, Qing dynasty, 1844-1927) Wu Changshuo, a wood plaque carved with calligraphy reading "Jiuzhenzhai" Wu Changshuo (1844–1927) was a painter, calligrapher and seal carver active from the late Qing dynasty into the modern era. He is regarded as one of the last great literati artists of the Qing period, excelling equally in poetry, calligraphy, painting and seal carving — a breadth of accomplishment honoured with the epithet "Four Perfections" (sizhue). He remains one of the

Stima

3400 - 6.900 €

Wu Changshuo (China,Qing dynasty, 1844-1927) Wu Ch

53 - Wu Changshuo (China,Qing dynasty, 1844-1927) Wu Changshuo, a pair of hanging scrolls of calligraphy in seal script, forming a matched couplet. A pair of hanging scrolls by Wu Changshuo, written in his characteristically powerful seal script (zhuanshu). Wu Changshuo (1844–1927) drew on the study of ancient stone-drum inscriptions to forge a seal-script style of extraordinary force and individuality, and his calligraphy in this mode is among his most sought-after work. L: 168.3cm W: 34.6cm ×2 /

Stima

1100 - 2.300 €

Wang Xu (China, late Qing dynasty-Republic of Chin

54 - Wang Xu (China, late Qing dynasty-Republic of China, 1857-1933) Wang Xu, a work of calligraphy Wang Xu (courtesy name Juesheng; art names Xingcun and Changyang Jisou) was a native of Laiyang, Shandong province. He obtained his jinshi degree during the Guangxu period (1875–1908) of the Qing dynasty and was active as both a government official and a calligrapher from the late Qing through the early years of the Republic of China. His calligraphy was highly prized in Beijing at the time; the sa

Stima

280 - 860 €

Qian Weicheng (China, mid-Qing dynasty, 1720–1772)

55 - Qian Weicheng (China, mid-Qing dynasty, 1720–1772) Qian Weicheng, a landscape painting Qian Weicheng, a native of Wujin (Changzhou) in Jiangsu province, was a mid-Qing dynasty painter known by the courtesy names Youan and Zongpan and the sobriquets Chashan and Jiaxuan, among others. He placed first (zhuangyuan) in the imperial examination of 1745, and while going on to hold a series of senior posts in officialdom, his artistic talent was also deeply admired by the Qianlong Emperor, under whom

Stima

1100 - 2.300 €

Huang Danru (China, Qing dynasty-Republic of China

56 - Huang Danru (China, Qing dynasty-Republic of China, 1867-1923) Shuang Gan Dou Jiu Ting Huangli' (Listening to the Oriole's Song with Tangerines and Wine) By Huang Danru (art names Wanshi and Huangren, 1867–1923), a figure painter from Wuxi, Jiangsu province, who was active principally in Shanghai during the late Qing and early Republican periods. Associated with the Shanghai School, Huang was known for figure compositions that combine narrative warmth with accomplished brushwork. L: 134.2cm W:

Stima

280 - 860 €

An embroidered "bird and flower" panel, signed Ren

57 - An embroidered "bird and flower" panel, signed Renkei Koji This work is an embroidered piece depicting a bird-and-flower subject, rendering a painterly composition with fine precision through needle and coloured thread. Signed Renkei Koji, though further details about this individual remain unknown. L: 99cm W: 32.5cm / Framed / embroidery China

Stima

280 - 860 €

Qi Gong (China, 1912-2005) Qi Gong, a painting of

58 - Qi Gong (China, 1912-2005) Qi Gong, a painting of bamboo and rocks By Qi Gong (1912–2005), calligrapher, painter, educator, classical scholar, connoisseur of cultural relics, poet and authority on the novel Dream of the Red Chamber. A ninth-generation descendant of the Yongzheng Emperor, Qi Gong is celebrated above all for his calligraphy, though his paintings of bamboo and rocks — grounded in the literati tradition — are equally admired for their scholarly restraint and sureness of brushw

Stima

560 - 1.800 €

Fan Zeng (China 1938-) Fan Zeng, a painting of oxh

59 - Fan Zeng (China 1938-) Fan Zeng, a painting of oxherding By Fan Zeng (b. 1938), a painter, calligrapher and poet from Nantong, Jiangsu province. Renowned as a master of traditional Chinese figure painting in a neoclassical mode, Fan Zeng is acclaimed both in China and internationally for his command of the "three perfections" — poetry, calligraphy and painting — and for figure compositions of remarkable force and vivacity. L: 136cm W: 34.4cm / unmounted scroll painting / paper Chin

Stima

1700 - 2.900 €

Wu Guanzhong (China, 1919-2010) Wu Guanzhong, a la

60 - Wu Guanzhong (China, 1919-2010) Wu Guanzhong, a landscape painting of the Jiangnan region By Wu Guanzhong (1919–2010), one of the most important Chinese painters of the twentieth century. Born in Yixing, Jiangsu province, Wu studied under Lin Fengmian at the National Academy of Art in Hangzhou before travelling to Paris in 1947 to study at the École Nationale Supérieure des Beaux-Arts. After his return to China in 1950, he developed a distinctive style fusing traditional ink painting with We

Stima

10.000 - 22.000 €

Yang Yuzhi, a landscape painting, and Huang Yongyu

61 - Yang Yuzhi, a landscape painting, and Huang Yongyu, a bird-and-flower painting. Two works offered together. Huang Yongyu (1924–2023), a native of Hunan province, was one of modern China's most versatile artists, working across printmaking, traditional Chinese painting (guohua), oil painting and calligraphy; he held a professorship at the Central Academy of Fine Arts. Yang Yuzhi is a painter specialising in landscape painting (shanshui). ① L: 81.5cm W: 46.7cm / framed / paper　② L: 34cm W:

Stima

280 - 860 €

Umehara Sueji (ed.), "Ōbei Shūjo: Shina Kodō Seika

62 - Umehara Sueji (ed.), "Ōbei Shūjo: Shina Kodō Seika" (Selected Masterpieces of Ancient Chinese Bronzes in Western Collections), Yamanaka & Co., 1933 (Shōwa 8), complete in 7 volumes. Ōbei Shūchō Shina Kodō Seika (Selected Masterpieces of Chinese Archaic Bronzes in European and American Collections), edited by the archaeologist Umehara Sueji, then Professor at Kyoto Imperial University, and published in seven volumes by Yamanaka & Co. in 1933. The work is a comprehensive photographic catal

Stima

560 - 1.200 €

A group of calligraphy and paintings, a presentati

63 - A group of calligraphy and paintings, a presentation gift A group of works in calligraphy and painting by various artists, presented as a gift by Moriyama Makiko. The lot brings together pieces of diverse format and subject, offering a cross-section of twentieth-century brush art. Uneven sizes China

Stima

280 - 860 €

Chinese stamps, in three stock books Three stock b

64 - Chinese stamps, in three stock books Three stock books housing a collection of Chinese stamps, both mint and used, spanning a wide range of issues. The lot encompasses numerous series and denominations, forming a varied survey of Chinese philatelic production. Uneven sizes China

Stima

280 - 860 €

Wei Qian (China, Shanghai, 1946-) A group of works

65 - Wei Qian (China, Shanghai, 1946-) A group of works depicting Xinjiang customs and other subjects Wei Qian (b. 1946) is a Chinese copperplate engraver, a native of Shanghai. He studied at the affiliated high school of the Central Academy of Fine Arts, then spent fifteen years working with the Xinjiang Production and Construction Corps. In 1978 he entered the graduate program in printmaking at the Guangzhou Academy of Fine Arts, where he studied copperplate engraving under Chen Xiaonan. He later s

Stima

280 - 860 €

Wei Qian (China Shanghai, 1946) A group of modern

66 - Wei Qian (China Shanghai, 1946) A group of modern woodblock prints depicting figures Wei Qian (b. 1946) is a Chinese copperplate engraver, a native of Shanghai. He studied at the affiliated high school of the Central Academy of Fine Arts, then spent fifteen years working with the Xinjiang Production and Construction Corps. In 1978 he entered the graduate program in printmaking at the Guangzhou Academy of Fine Arts, where he studied copperplate engraving under Chen Xiaonan. He later served as pro

Stima

280 - 860 €

Wei Qian (China Shanghai, 1946) A group of three p

67 - Wei Qian (China Shanghai, 1946) A group of three paintings from the series 'Yǒnghéng' (Eternity) Wei Qian (b. 1946) is a Chinese copperplate engraver, a native of Shanghai. He studied at the affiliated high school of the Central Academy of Fine Arts, then spent fifteen years working with the Xinjiang Production and Construction Corps. In 1978 he entered the graduate program in printmaking at the Guangzhou Academy of Fine Arts, where he studied copperplate engraving under Chen Xiaonan. He later

Stima

280 - 860 €

Wei Qian (China Shanghai, 1946) A group of woodblo

68 - Wei Qian (China Shanghai, 1946) A group of woodblock prints depicting figures of various ethnic groups Wei Qian (b. 1946) is a Chinese copperplate engraver, a native of Shanghai. He studied at the affiliated high school of the Central Academy of Fine Arts, then spent fifteen years working with the Xinjiang Production and Construction Corps. In 1978 he entered the graduate program in printmaking at the Guangzhou Academy of Fine Arts, where he studied copperplate engraving under Chen Xiaonan. He l

Stima

280 - 860 €

Wei Qian (China Shanghai, 1946) A group of works d

69 - Wei Qian (China Shanghai, 1946) A group of works depicting figures, in charcoal and woodblock print Wei Qian (b. 1946) is a Chinese copperplate engraver, a native of Shanghai. He studied at the affiliated high school of the Central Academy of Fine Arts, then spent fifteen years working with the Xinjiang Production and Construction Corps. In 1978 he entered the graduate program in printmaking at the Guangzhou Academy of Fine Arts, where he studied copperplate engraving under Chen Xiaonan. He late

Stima

280 - 860 €

Zhao Ruichun, Pan Xingjian, and others, three wood

70 - Zhao Ruichun, Pan Xingjian, and others, three woodblock prints A set of three contemporary Chinese prints, each executed in a different technique — lithograph, etching, and woodblock print — the group conveying the individuality of each artist and the range of their respective techniques.

Stima

280 - 860 €

A Lingbi scholar's rock entitled "Tingyun" (Linger

71 - A Lingbi scholar's rock entitled "Tingyun" (Lingering Clouds) A Lingbi stone titled “Tingyun” (“Lingering Clouds”). Its deeply convoluted surface and undulating form evoke clouds hanging serenely in the sky. “Tingyun” signifies not merely clouds at rest, but is also known, in reference to Tao Yuanming’s poem “Tingyun,” as an elegant literary phrase expressing longing for a distant friend. A stone of real evocative power, in which the image of motionless clouds merges with a tim

Stima

1100 - 2.300 €

A malachite carving A vivid green malachite carvin

72 - A malachite carving A vivid green malachite carving, its form suggestive of a mountain landscape. The surface displays natural banded markings and numerous small pits, together evoking the appearance of a continuous range of mountains. H: 15.7cm China, Qing Dynasty

Stima

850 - 2.000 €

A red jade mountain (scholar's rock) Akadama-ishi

73 - A red jade mountain (scholar's rock) Akadama-ishi (red-jade stone) has been prized as a celebrated stone since antiquity; historical records note an example presented to Toyotomi Hideyoshi. The present stone evokes the appearance of turbulent, rolling waves, its striking red colouration and dynamic natural form lending it a powerful visual presence. W: 11.7cm H: 14.3cm Wooden box Japan

Stima

850 - 1.800 €

A Lingbi scholar's rock Lingbi stone, quarried in

74 - A Lingbi scholar's rock Lingbi stone, quarried in Anhui province, has been treasured since antiquity as tribute presented to the nobility. This example captivates with its powerful, highly individual form — the embodiment of the scholar's-rock aesthetic in which nature's own sculpting surpasses anything achievable by human hand. H: 27cm China, Qing Dynasty

Stima

1400 - 2.900 €

A small Taihu scholar's rock An exceptionally rare

75 - A small Taihu scholar's rock An exceptionally rare Taihu stone, its surface tinged yellow and orange through the action of red-soil minerals and oxidation. Prolonged natural erosion has produced numerous perforations and an intricate, openwork form that gives this small stone a presence well beyond its scale. W: 4.2cm H: 3cm Wooden box China, Ming Dynasty

Stima

1700 - 3.500 €

A Lingbi scholar's rock Lingbi stone has been cher

76 - A Lingbi scholar's rock Lingbi stone has been cherished by literati as a studio object — used, for instance, as an ink-stone mountain (yanshan) — and as a treasured curio, its appreciation exerting a formative influence on the related Japanese traditions of suiseki and bonseki. This is a particularly forceful example, its dark, resonant surface and bold contours exemplifying the type at its most commanding. W: 18.5cm H: 13.3cm China, Qing Dynasty

Stima

560 - 1.500 €

A Lingbi scholar's rock A Lingbi stone, characteri

77 - A Lingbi scholar's rock A Lingbi stone, characterised by its distinctive perforations formed through long years of erosion and weathering, and its intricately convoluted form, mounted on a hardwood (karaki) stand. H: 15.1cm China, Qing Dynasty

Stima

850 - 2.000 €

A jadeite leaf A jadeite carving in the form of a

78 - A jadeite leaf A jadeite carving in the form of a leaf, skillfully worked to make full use of jadeite's characteristic clear green colour and warm, lustrous texture, the veins and edges of the leaf rendered in fine detail. H: 4cm China, Qing Dynasty

Stima

2800 - 4.600 €

#VALUE!

79 - #VALUE!

Stima

2200 - 4.600 €

An agate cup A small cup carved from translucent a

80 - An agate cup A small cup carved from translucent agate, the natural banding of the stone visible through its polished walls. The simplicity of the form allows the stone's inherent beauty to speak for itself. H: 2.6cm D: 6.3cm China, Qing Dynasty

Stima

450 - 1.100 €

A moss agate "lotus and frog" brush washer A brush

81 - A moss agate "lotus and frog" brush washer A brush washer carved from moss agate — a variety known in Chinese as "water-plant agate" (shuicao manao) for its internal inclusions resembling aquatic vegetation. The vessel is worked with a lotus motif and a small frog, its natural markings complementing the carved decoration. W: 9.5cm H: 4.2cm Wooden box China, Qing Dynasty

Stima

1400 - 3.200 €

A jasper lotus-shaped bowl, carved with a figure o

82 - A jasper lotus-shaped bowl, carved with a figure of a Buddha A bowl carved from deep spinach-green jasper in the form of a lotus flower, its interior bearing a Buddhist figure worked in relief. The rich, dark emerald tone of the stone lends the piece a particular solemnity befitting its devotional subject. H: 5.2cm Caliber: 13cm Wooden box China, Qing Dynasty

Stima

3900 - 6.900 €

A jasper "dragon" belt hook A belt hook (daigou) c

83 - A jasper "dragon" belt hook A belt hook (daigou) carved from jasper, the terminal boldly worked as a dragon's head with incised brows, eyes and teeth. The stone displays natural mottling and patches of russet. Belt hooks of this type served as garment fasteners and were among the most widely produced personal accessories of ancient China. L: 13.5cm China, Qing Dynasty

Stima

450 - 1.100 €

A jade incense box with a dragon motif carved into

84 - A jade incense box with a dragon motif carved into it A jade incense box (kōgō) with a dragon carved in high relief across its cover. The warm, lustrous surface of the jade sets off the vigour of the dragon's form, the interplay of smooth ground and sculptural detail demonstrating accomplished jade-carving technique. L: 16.5cm W: 8.5cm H: 6cm Wooden box China, Qing Dynasty

Stima

280 - 1.200 €

A yellow jade paperweight, carved with a dragon A

85 - A yellow jade paperweight, carved with a dragon A paperweight carved from yellow jade, its warm, honeyed tone complementing the powerful form of a dragon worked in relief. The combination of the stone's refined colour and the vigour of the carving gives the piece a compelling dual character — at once elegant and forceful. H: 1.9cm D: 6.1cm Wooden box China, Qing Dynasty

Stima

2500 - 4.300 €

A carved white jade ring ornament with dragon desi

86 - A carved white jade ring ornament with dragon designs A ring ornament (huan) of white jade, carved with a dragon whose scales and sinuous body are rendered in fine detail. The stone displays the warm, mellow quality prized in the finest jade, and the precision of the carving rewards close inspection. D: 5.8cm China, Qing Dynasty

Stima

280 - 860 €

A white jade ring and rosewood stand A white jade

87 - A white jade ring and rosewood stand A white jade ring (huan), accompanied by a fitted rosewood stand for display as an objet d'art. The luminous, even tone of the jade is characteristic of fine white nephrite. H: 2.2cm D: 4.5cm Wooden box China, Qing Dynasty

Stima

560 - 1.200 €

A white jade brush washer A white jade brush washe

88 - A white jade brush washer A white jade brush washer modelled in the form of a lotus leaf, a small frog perched at one edge of the rim. The naturalistic rendering of the leaf and the whimsical addition of the frog bring a lively, informal character to this scholar's-desk accessory. W: 10.8cm H: 2.3cm China, Qing Dynasty

Stima

1100 - 2.900 €

A white jade ornament A small white jade ornament

89 - A white jade ornament A small white jade ornament carved with a floral design. The even, milky tone of the stone and the restrained simplicity of the carving are in keeping with the understated aesthetic favoured for jade accessories. H: 4.9cm China, Qing Dynasty

Stima

560 - 1.500 €

A white jade openwork urnament A decorative white

90 - A white jade openwork urnament A decorative white jade bead, pierced and carved with an openwork arabesque pattern. The delicacy of the openwork — requiring considerable skill to execute without fracturing the stone — testifies to accomplished lapidary technique. D: 3cm Case China, Qing Dynasty

Stima

560 - 1.200 €

Two white jade bangles Two white jade bangles. One

91 - Two white jade bangles Two white jade bangles. One retains, in part, the natural outer skin (shipi, or "stone skin") of the raw jade boulder — a feature prized by connoisseurs as evidence that the stone has not been over-worked, and as a mark of the material's authenticity. ①D: 8cm ②D: 5.2cm Wooden box China, Qing Dynasty

Stima

1700 - 3.500 €

A group of four white jade carvings Four small whi

92 - A group of four white jade carvings Four small white jade objects of various forms. Among them is a figure of Jurōjin, the God of Longevity, a subject frequently encountered in miniature jade carvings intended as auspicious talismans or scholars' playthings. Uneven size×4 China, Qing Dynasty

Stima

560 - 1.800 €

An archaic jade cicada A jade cicada of archaic fo

93 - An archaic jade cicada A jade cicada of archaic form. The cicada, which emerges above ground only after undergoing metamorphosis, came to symbolise rebirth and immortality in ancient China. During the Han dynasty, jade cicadas were placed in the mouth of the deceased as hanchan ("mouth cicadas") — a funerary practice rooted in the belief that jade could preserve the body and ease the passage to the afterlife. L: 5cm W: 2.7cm Wooden box China Han Dynasty

Stima

560 - 1.200 €

An archaic jade fitting in the form of a crown An

94 - An archaic jade fitting in the form of a crown An archaic jade implement of crown-like form, its upper section spreading outward into a distinctive silhouette. Objects of this type attest to the deep connection between jade culture and the symbolism of ritual authority and social rank in ancient China. L: 4.9cm W: 5.7cm China Liangzhu culture

Stima

1100 - 2.300 €

A pale green-white jade water pot in the form of a

95 - A pale green-white jade water pot in the form of a dragon-turtle A qingbai jade “dragon-turtle” water pot, skilfully carved with a longgui combining the head of a dragon with the body of a turtle. Its handsome form unites auspicious symbolism with the art of jade carving — a refined scholar’s object. L: 12.5cm W: 11cm H: 6.5cm China, Qing Dynasty

Stima

3400 - 6.900 €

A bronze "animal mask" gui The gui was an importan

96 - A bronze "animal mask" gui The gui was an important bronze ritual vessel used in sacrificial ceremonies and rites in ancient China. This is a powerful example of the form, its imposing profile rising from a broadly flaring mouth to a fully rounded body and continuing down to a stable ring foot, fitted with a pair of large loop handles.

Stima

190.000 - 320.000 €

A bronze "taotie" hu, with beast-mask handles An a

97 - A bronze "taotie" hu, with beast-mask handles An ancient Chinese ritual vessel: a bronze fang ping (square-sectioned vase) with beast-mask handles, decorated overall with a taotie design. Cast with a bronze inscription. W: 20.5cm H: 39.3cm China

Stima

10.000 - 16.000 €

A bronze "taotie" tripod ding A bronze tripod ding

98 - A bronze "taotie" tripod ding A bronze tripod ding of the type used in the sacrificial rites and ceremonial feasts of ancient China. Two upright loop handles rise from the rim and three sturdy legs support the vessel below, while a large taotie mask — that most potent emblem of Shang and Zhou bronze art — dominates the broad expanse of the body. W: 29.7cm H: 22.3cm Wooden box China, Warring States period

Stima

3700 - 5.500 €

A pair of gilt-bronze fittings in the form of a be

99 - A pair of gilt-bronze fittings in the form of a bear A pair of gilt-bronze fittings, each cast in the form of a crouching bear. Probably used as fasteners or decorative mounts, their compact, powerful modelling captures the animal's bulk and watchful energy with striking economy of form. W: 3.7cm H: 4cm ×3 Case China

Stima

560 - 1.200 €

A pair of bronze fittings, inlaid in gold and silv

100 - A pair of bronze fittings, inlaid in gold and silver with an animal-mask design A pair of bronze fittings inlaid in gold and silver with a beast-mask design. The vivid brilliance of the precious-metal inlay stands out against the deep patina of the bronze, the bold mask motif and the exacting inlay technique combining to powerful effect. H: 4cm D: 4.6cm ×2 China Han Dynasty

Stima

1900 - 3.800 €

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