Lot 4. Property from an Important New York Private American Collection. A large yellow-glazed bowl, Mark and period of Kangxi (1662-1722). Diameter 35.6 cm, Estimate 10,000 - 15,000 USD. Lot sold 43,000 USD. © Sotheby's.

the base with a six-character mark in underglaze blue within a double circle

Provenance: Collection of Irene and Earl Morse.

Sotheby's New York, 24th March 1998, lot 661.

Lot 7. Property from an East Coast Private Collection. A peach-glazed brush washer, Mark and period of Kangxi (1662-1722). Diameter 11.8 cm, Estimate 20,000 - 30,000 USD. Lot sold 30,000 USD. © Sotheby's.

the base with a six-character mark in underglaze blue

Provenance: Yatsuhashi, Boston, circa 1963.

Note: The form of this washer is known as tangluo xi, one of the most iconic forms among 'peachbloom' wares. This type of ware is in many renowned museums and collections. A closely related washer in the Palace Museum, Beijing, is illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl. 123; another in the Metropolitan Museum of Art, New York, is illustrated with a group of peachbloom-glazed vessels in Suzanne Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 236.

Many have also appeared at auctions over the years. See three from the Edward T. Chow Collection, one illustrated in Cecile and Michel Beurdeley, La Céramique Chinoise, Fribourg, 1974, pl. 98, sold in our Hong Kong rooms, 17th May 1988, lot 61; one entered the M.C. Wang Collection and was sold at Christie's New York, 19th March 2008, lot 636; and the last was sold in our Hong Kong rooms, 8th April 2009, lot 1657. More recently, see one suffused with pale green speckles, previously in the collection of the Art Institute of Chicago, sold at Christie's New York, 11th September 2019, lot 726; and another, previously in the Cadle Family Collection, sold in these rooms, 21st March 2023, lot 14.

Yatsuhashi Harumichi (1886-1982) was born in Tano, Japan, and worked for Yamanaka & Company in Osaka before managing their Boston branch in 1907. In 1945, after World War II, Yatsuhashi and his son Michio opened their own Asian art dealership at 420 Boylston Street, Boston. Yatsuhashi was active in cultural exchange, serving as president of the Japan Society of Boston in 1931 and founding the Boston-Kyoto Sister City Foundation. 

Lot 17. Property from the Junkunc Collection. A very rare molded gold-imitation 'birthday' bowl and cover, Seal mark and period of Kangxi (1662-1722). Diameter 16.5 cm, Estimate 60,000 - 80,000 USD. Lot sold 60,000 USD. © Sotheby's.

the base with an archaistic six-character mark in underglaze blue within a double circle (2)

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Note: This bowl and cover are a rare example of the technical advances achieved by craftsmen working at the Imperial kilns at Jingdezhen during the Kangxi reign. The set displays a renewed interest in archaism, as evidenced in its decoration, glaze and unusual seal script mark, and can be considered one of the earliest successful attempts to simulate metal objects at Jingdezhen. The brilliant and slightly opalescent glaze on this piece simulates gold, while the bird-shaped finial on the cover and the geometric band of characters on the body echo motifs of the Chinese Bronze Age.

Bowls of this type and with their matching covers are rare, although a closely related example but lacking the cover, from the Mottahedeh Collection, was sold in these rooms, 19th October 2000, lot 141; and another from the Rende Zhai Collection was sold at Christie's New York, 16th September 2011, lot 1632. A Kangxi mark and period dish carved with this design, in the Capital Museum, Beijing, is illustrated in The Complete Works of Chinese Ceramics, vol. 14, Shanghai, 1999, pl. 121.

The mark on this bowl is very unusual, and appears only on a rare group of vessels covered in gold glaze. Given the superb quality of these wares and the 'longevity' themes that they depict, they were probably all commissioned on the occasion of the Emperor's 60th or 70th birthday. A cup and a dish with this mark, decorated with shou characters in blue enamel against a gold ground, in the Palace Museum, Beijing, is illustrated in Kangxi Yongzheng Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pls 73 and 74.

Lot 164. Property from a New-Jersey Private Collection. A celadon-glazed lobed brush washer, Mark and period of Kangxi (1662-1722). Diameter 13.8 cm, Estimate 5,000 - 7,000 USD. Lot sold 16,800 USD. © Sotheby's.

the base with a six-character mark in underglaze blue

Provenance: Collection of Lieutenant General Lü Jingcun (1897-1967), and thence by descent.

Note: See a closely related lobed washer sold in these rooms, 5th June 1985, lot 264. Another, of lavender-blue glaze, is in the Shanghai Museum, Shanghai and illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 217.

Lot 188. Property from a Texas Private Collection. A white-glazed 'dragon' vase, Qing dynasty, Kangxi period (1662-1722). Height 40 cm, Estimate 8,000 - 12,000 USD. Lot sold 10,800 USD. © Sotheby's.

the base incised with an apocryphal Chenghua six-character mark 

Provenance: Christie's New York, 26th May 2003, lot 283. 

Lot 193. Property from the Junkunc Collection. A 'Langyao' red-glazed vase, Qing dynasty, Kangxi period (1662-1722). Height 43 cm, Estimate 5,000 - 7,000 USD. Lot sold 20,400 USD. © Sotheby's.

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Lot 8. Property from a,Disginguish East Coast Private Collection. An extremely rare Jun-imitation vase (Tianqiuping), Seal mark and period of Yongzheng (1723-1735). Height 52 cm, Estimate 150,000 - 250,000 USD. Lot sold 480,000 USD. © Sotheby's.

the base with an incised six-character seal mark

Provenance: Seattle Art Museum, Seattle.

Sotheby Parke Bernet, New York, 5th November 1977, lot 219.

Note: Imposing yet subtle, sturdy yet sensuous; the present lot is a rare and important testament to the high quality and vibrant experimentation in porcelain production under the command of the Yongzheng Emperor. More than just statesman and warrior, the Yongzheng Emperor was also a connoisseur. Growing up surrounded by the greatest works of Chinese art, Yongzheng developed a passion for the shapes and glazes of antiquity. With a particular interest in the subtle enchanting glazes of the Song dynasty, Yongzheng tasked his artisans to study antique pieces from the court collection and develop new experimental glazes for use at the imperial kilns in Jingdezhen. The resulting glazes, a synergy of ancient beauty and modern technical ability, are a marvel to behold and this imitation of a 'Jun' glaze is no exception.

'Jun' ware, arguably the most spectacular of the major Song dynasty wares, is typified by specimens produced at the Juntai kilns in Yuzhou though celebrated pieces were made at many kiln sites around Henan. With their simple yet robust forms and bold irregular purple splashes across thickly glazed surfaces, 'Jun' wares were much beloved by the literati of the Song and so too, as it seems, by the Yongzheng Emperor centuries later.

Mimicking the hazy optical blue and mottled red-purple found on the best Song pieces, Yongzheng period 'Jun' wares are among the rarest and most prized of these experimentally glazed pieces and a favorite of the emperor. As the celebrated superintendent of the imperial kilns, Tang Ying (1682-1756), recorded in 1735 in his Taocheng jishi bei ji ('Commemorative Stele on Ceramic Production'), no less than nine varieties of Jun glazes were developed on Yongzheng's orders, five of which were based directly on Song artifacts sent from the Forbidden City. So great was the desire to capture the essence of Jun wares that Tang Ying even sent craftsmen with his secretary Wu Yaopu to Junzhou in 1729 to work with local potters and attempt to develop a truly 'authentic' recipe.

Tianqiuping or 'celestial globe' vases, named after their resemblance to a planet, were first created in the early Ming dynasty, with the form perhaps inspired by Islamic copper or glass prototypes of the Middle East; see Ma Wenkuan, 'A study of Islamic elements in Ming Dynasty Porcelain', Li Baoping et al, eds., Porcelain and Society, China Archaeology and Art Digest, vol. 3, no. 4, June 2000, p. 12, figs 13-14. This form became popular during the Qianlong period and was produced in a variety of glazes, decorative techniques and motifs. Tianqiuping from the Yongzheng period, however, are far less common; all the more so those of this massive size and Song-inspired monochrome glazing.

Only a handful of tianqiuping with this glazing appear to be known and almost never appear on the market. Compare a very similar unpublished vase of Yongzheng mark from the collection of Benjamin Altman (1840-1913) in the Metropolitan Museum of Art (accession no. 14.40.163); and another in the collection of the Palace Museum, Beijing, published on the Museum's website (accession no. gu 00229104).

Compare also Yongzheng period 'Jun' wares of other forms including a similarly bulbous 'alms bowl' from the Baur Collection (coll. no. A356), illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 2, Geneva, 1999, pl. 264, alongside a vase of a more common pear-shaped hu form with rectangular perforations in the footring, pl. 263. Compare another vase of this hu form with an incised Yongzheng mark, sold in our Hong Kong rooms, 30th October 2002, lot 230, and subsequently illustrated in Sotheby's Thirty Years in Hong Kong, Hong Kong, 2003, p. 155, no. 141; and another, sold at Christie's New York, 29th March 2006, lot 463.

Lot 9. Property from a Distinguish East Coast Private Collection. A rare Ge-type bronze-form vase (Hu), Seal mark and period of Yongzheng (1723-1735). Height 32.4 cm, Estimate 1,000,000 - 1,500,000 USD. Unsold. © Sotheby's.

the base with a six-character seal mark in underglaze blue

Provenance: Collection of Arthur J. Whittall, acquired in the 1920s-30s.

Bluett's & Sons Ltd., London, 19th May 1948.

Collection of Lord Cunliffe (1899-1963). 

Bluett & Sons Ltd., London, Grosvenor House Fair, 14th June 1978. 

Hugh Moss, London. 

Sotheby's Hong Kong, 28th November 1979, lot 299. 

Sotheby's New York, 4th December 1985, lot 256.

Collection of Morton and Grace Gordon. 

Christie's New York, 24th March 2011, lot 1120.

Exhibited: Grosvenor House Antiques Fair, London, 1978.

Note: Covered in a creamy-white glaze suffused with a captivating web of crackles, the present vase is a magnificent example of the Song-imitation ceramics produced during the brief reign of the Yongzheng Emperor (1723-1735).While the ravishing crackle glazes of the Song dynasty enjoyed an unbroken history of appreciation throughout the Ming and Qing dynasties, the most exceptional reproductions were produced during the Yongzheng period. Yongzheng's personal appreciation of antique ceramics and exacting standards pushed artisans at the imperial kilns in Jingdezhen to develop better and better reproductions of Song glazes, even going so far as to send Song originals from the court collection as study pieces to replicate. Especially following the appointment of the famed superintendent of the imperial kilns, Tang Ying, in the sixth year of the Yongzheng reign, this period saw a growing demand for such magnificent pieces with subtle forms and minimal decoration.

Although a number of related pieces of Ge ware are known that may have served as prototype for the present vase, reference must also be made to Song dynasty Longquan wares which feature similarly rounded bellies and molded bowstring designs. Compare a number of smaller Ge ware vases of related form from the collection of the Qing Court, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (II), Hong Kong, 1996, pls 39-44; and a similar Longquan vase from the collection of the Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum: Lung-Chüan Ware of the Sung Dynasty, Hong Kong, 1962, pl. 3.

These beloved Song pieces, with dramatic foot rings and tubular handles, were in turn derived from archaic bronze hu vessels. Compare, for example, a related Shang dynasty hu preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Bronze Ritual Vessels and Musical Instruments, Hong Kong, 2006, pl. 92.

However, unlike the Song vases and the more conventional replicas produced during the Qianlong period, the most magnificent of Yongzheng pieces – the present lot a prime example – move far beyond mere imitation and possess an ineffable sense of vitality as masterpieces in their own right. With smooth bulbous bellies and imposing splayed feet, these pieces may even be said to be closer in style to their ancient bronze predecessors than to their so-called prototypes from the Song dynasty.

Very few Ge-type vases of this period are known and almost none of this magnificent quality. Compare a slightly smaller Ge-imitation vase from the Huaihaitang Collection, exhibited in Ethereal Elegance: Porcelain Vases of the Imperial Qing, Art Museum, The Chinese University of Hong Kong, 2007, cat. no. 39; another sold in our London rooms, 1st June 1988, lot 164; another, without bowstring banding, sold in our Hong Kong rooms, 26th October 1993, lot 96, and again, 7th May 2002, lot 509. Compare also a closely related guan vase of Yongzheng mark, also of slightly more compressed form, sold three times in our London rooms in 1982, 2001, 2006 and, finally, in our Hong Kong rooms, 8th October 2009, lot 1637.

Another Yongzheng vessel of related shape but with a flambé glaze is in the Palace Museum, Beijing and illustrated in The Complete Collection of Treasures of the Palace Museum: Monochrome Porcelain, Hong Kong, 1999, pl. 180.

Lot 191. Property from the Junkunc Collection. A coral-glazed censer, Qing dynasty, Yongzheng period (1723-1735). Diameter 12.8 cm, Estimate 3,000 - 5,000 USD. Lot sold 12,000 USD. © Sotheby's.

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Lot 5. Property from the Junkunc Collection. A Guan-type faceted vase (Hu), Seal mark and period of Qianlong (1736-1795). Height 14.6 cm, Estimate 40,000 - 60,000 USD. Unsold. © Sotheby's.

the base with a six-character seal mark in underglaze blue

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Note: The form of the present vase is based on Shang and Zhou dynasty bronze wine vessels, however, the unctuous pale bluish-green glaze suffused with fine craquelure evokes Song dynasty Guan celadon wares that also imitated ancient ritual vessels. The Qianlong Emperor revered both, and this vase attests to the Imperial ceramicists' ingenuity in utilizing historical precedents in the creation of new works that met the Emperor's exacting standards for quality and antiquarian taste.

A similar vase in the collection of the National Palace Museum in Taipei is published in the Illustrated Catalogue of the Ch'ing Dynasty Porcelain in the National Palace Museum Ch'ien-lung Ware and Other Wares, Tokyo, 1981, pl. 82; one from the Art Gallery of the Chinese University of Hong Kong was included in the exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, cat. no. 63; and two vases of this type, one with a crackled glaze and the other with a plain Guan-type glaze, are published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. II, London, 1994, pls 874 and 875. Two further vases of this type are illustrated in Qing Imperial Monochromes: The Zande Lou Collection, Hong Kong, 2005, pl. 32; another is illustrated by John Ayers in The Baur Collection, Geneva, vol. III, 1972, no. A344; and an example from the Garner Collection was included in the Oriental Ceramic Society exhibition The Arts of the Ch'ing Dynasty, London, 1964, cat. no. 276. See also another from the Edward T. Chow Collection sold in our Hong Kong rooms, 25th November 1980, lot 91 and on 19th May 1981, lot 501; a similar vase that sold twice in our Hong Kong rooms, first on 20th November 1985, lot 203, and then again on 6th April 2016, lot 3638; and one without the craquelure sold in these rooms, 20th March 2012, lot 243.

Lot 6. Property from the Junkunc Collection. A Guan-type bottle vase, Seal mark and period of Qianlong (1736-1795). Height 12.4 cm, Estimate 50,000 - 70,000 USD. Lot sold 78,000 USD. © Sotheby's.

the base with a six-character seal mark in underglaze blue

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Note:  Notable for its elegant form and subtle bluish glaze suffused with fine streaks of golden-brown crackles, this well-potted vase embodies the Qianlong Emperor's fondness for the celebrated Guan ware of the Southern Song dynasty. It is also testament to the high level of technical dexterity of the potters of the imperial kilns at Jingdezhen, who have skillfully imitated not only the iconic unctuous glaze of the prototype, but also the dark brown foot, which has been left unglazed and stained after firing. Compare two small bottle vases of this type with Qianlong four-character marks, illustrated in Ethereal Elegance, Porcelain Vases in the Imperial Qing, the Huaihaitang Collection, The Chinese University of Hong Kong, 2007, cat. nos 48 and 36. For other Guan-type vases of similar form, see a slightly larger example covered with a pale ash-gray glaze with dark stained crackles, sold in our Hong Kong rooms, 20th May 1986, lot 83, and again at Christie's Hong Kong, 27th May 2008, lot 1799; and another, sold at Christie's London, 6th June 1988, lot 115. See also Ru-type vases of similar form, such as one also from the collection of Stephen Junkunc, III, sold at Christie's New York, 19th March 2008, lot 658; and a slightly larger version from the J.M. Hu Collection, illustrated in Helen D. Long and Edward T. Chow, Collection of Chinese Ceramics from the Pavilion of Ephemeral Attainment, vol. IV, Hong Kong, 1950, pl. 172, sold in our Hong Kong rooms, 9th October 2012, lot 111; and another sold twice in our Hong Kong rooms, 14th November 1989, lot 180, and 10th January 2001, lot 584. Another of this type sold at Christie's London, 15th May 2018, lot 175. See also a bottle vase of related form and slightly larger size, also from the Junkunc Collection, sold in these rooms, 12th September 2018, lot 115.

Lot 14. Property from a Distinguish North American Collection. A rare pair of carved green-glazed 'lotus' narcissus trays, Seal marks and period of Qianlong (1736-1795). Diameter 18.8 cm, Estimate 80,000 - 120,000 USD. Lot sold 90,000 USD. © Sotheby's.

the base of each with a six-character seal mark (2)

Provenance: Collection of Dr. Robert Kemper (1924-2016).

Note: This pair of green-glazed relief-decorated narcissus trays represents a new porcelain style that was developed in the early 18th century. The opaque quality of the green glaze is reminiscent of semi-precious stones such as malachite, and the relief design contributes further to the effect of the wares being carved from stone.

This technique and green-colored glaze is seen on a variety of Qianlong mark and period vessels; see a gu beaker vase decorated with baijixiang amongst lotus scrolls in relief, sold in these rooms, 21st September 2005, lot 123; a hat stand included in the exhibition Qingdai danse you ciqi tezhen [Special exhibition of monochrome glazed porcelain of the Qing dynasty], National Palace Museum, Taipei, 1981, cat. no. 48; and a lantern vase carved with dragons amidst waves, included in the exhibition In Pursuit of Antiquities. Min Chiu Society 40th Anniversary Exhibition, Hong Kong Museum of Art, Hong Kong, 2001, cat. no. 187.

Similar designs of lotus scrolls in relief can be found on vases of other pastel-colored glazes. See, for example, a pair of pomegranate-shaped vases covered in a turquoise glaze, with Qianlong seal marks and of the period, from the J.M. Hu Collection, sold in our Hong Kong rooms, 9th October 2012, lot 112; and a turquoise-glazed brushwasher, in the National Palace Museum, Taipei, included in the Museum’s exhibition op. cit., cat. no. 49.

Dr. Robert Kemper founded the Asian department at the Cincinnati Art Museum in 1946. Upon his retirement, he donated his whole collection as a gift to the Museum save for this pair of bowls, which he bequeathed to his daughter

Lot 15. A fine celadon-glazed 'floral' mallow-form washer, Seal mark and period of Qianlong (1736-1795). Diameter 15.5 cm, Estimate 50,000 - 70,000 USD. Lot sold 132,000 USD. © Sotheby's.

the base with a six-character seal mark in underglaze blue

Provenance: California Private Collection, acquired in Hong Kong in the 1980s.

Note: Veiled with a luminous celadon glaze, the present washer, with its harmonious combination of form, carving and design, is a characteristic imperial product of the Qianlong period - a period when the expectations on a piece of porcelain were set to the highest level, with every aspect of a vessel precisely calculated and planned but, at the same time, endowed with a sense of effortless elegance.

During the early Qing dynasty, the Qing emperors' affinity for the past influenced and dictated the aesthetic taste of the imperial wares that were produced in Jingdezhen. Well-known for his appreciation of past traditions including his admiration of Longquan celadon wares of the Song period, the Qianlong Emperor encouraged innovative approaches towards celadon-glazed wares produced in his imperial kiln. The present washer combines the celadon glaze inspired by the Song dynasty with the mallow form seen on washers of the same period. For a Song prototype, see a lobed Guan washer, in the National Palace Museum, Taipei, included in the exhibition Kuan Ware of the Southern Sung Dynasty, Book I, Part II, Taipei, 1962, cat. no. 41; and another from the Percival David Collection, now in the British Museum, London (accession no. PDF,A.53) and exhibited in Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares, London, 1999, cat. no. 29.

For a closely related celadon-glazed washer of Qianlong mark and period, also decorated with lotus flowers, see one sold in our Hong Kong rooms, 8th October 2008, lot 2501.

Lot 16. A fine and rare 'eel-skin'-glazed vase, Seal mark and period of Qianlong (1736-1795). Height  32.9 cm, Estimate 250,000 - 350,000 USD. Lot sold 288,000 USD. © Sotheby's.

the base incised with a six-character seal mark, silver wire inlaid zitan stand, two Japanese wood boxes (6)

Provenance: Japanese Private Collection.

Christie's Hong Kong, 27th May 2008, lot 1591.

Note: First developed under the reign of the Yongzheng Emperor in an attempt to mimic the patina of archaic bronzes, the unctuous 'eel skin' glaze of the present lot is widely considered the most prized of the so-called 'teadust' glazes produced at the imperial kilns in Jingdezhen. Much like the praised celadon wares of the Song dynasty, these spellbinding mottled glazes were produced using a high concentration of iron oxide in the glaze recipe, a weak-reduction firing atmosphere and a slow cooling process.

Vases of this magnificent archaic form are exceedingly rare and found almost exclusively in a very small number of important Japanese collections. Compare two teadust vases of a darker kurasoba ('black soba noodle') color: one in the collection of the Idemitsu Museum, illustrated in Chūgoku tōji: Idemitsu Bijutsukan zōhin zuroku / Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 229; the other from the Sokenan Collection, exhibited at the Kyoto National Museum, Shinkan kansei kinen tokubetsuten / Special Exhibition in Memory of the New Building, Kyoto, 1967, cat. no. 311, and later sold at Christie's Hong Kong, 1st December 2009, lot 1904. Compare also the only known vase of this type with a sky-blue glaze from the Hirota Collection, now held in the Tokyo National Museum, illustrated alongside the Idemitsu piece in Chūgoku tōji: Idemitsu Bijutsukan zōhin zuroku [Chinese Ceramics: Qing Imperial Wares], Tokyo, 1996, pl. 79.

Two vases of this form and teadust glazing have been sold in our Hong Kong rooms: the first on 21st May 1979, lot 131; the second, of a very similar 'eel skin' tone, was sold twice: on 31st October 2004, lot 219, and again 9th October 2020, lot 54.

A slightly more common group of teadust-glazed Qianlong vases is known, of a similarly grand archaic form but with bronze-imitation animal head handles and three molded bands across the body; compare a particularly fine example sold in our London rooms, 13th May 2009, lot 221. These and the present vase were likely both inspired by a slightly smaller prototype of Yongzheng mark. An example of this type –itself likely derived from archaic bronze vessels of lei shape from the Western Zhou dynasty – is preserved in the Palace Museum, Taipei and illustrated in Liu Liang-yu, A Survey of Chinese Ceramics: Ch'ing Official and Popular Wares, Taipei, 1991, p. 137.

Lot 165. Property from a Philadelphia Private Collection. A celadon-glazed drum-shaped vase, Seal mark and period of Qianlong (1736-1795). Height  17.2 cm, Estimate 10,000 - 20,000 USD. Lot sold 136,000 USD. © Sotheby's.

the base with six-character seal mark in underglaze blue

Provenance: Collection of D. Jean Demboski (1942-2017), acquired in the 1980s, and thence by descent.

Lot 167. A blue-glazed cong-form vase, Seal mark and period of Qianlong (1736-1795). Height  32.9 cm, Estimate 40,000 - 60,000 USD. Lot sold 136,000 USD. © Sotheby's.

the base with six-character seal mark in underglaze blue

Provenance: Acquired in Asia, circa 1996.

Lot 194. A flambé-glazed handled vase, Seal mark and period of Qianlong (1736-1795). Height  20.7 cm, Estimate 8,000 - 12,000 USD. Lot sold 11,400 USD. © Sotheby's.

the base with an incised six-character seal mark

Provenance: Collection of Mrs. Sylvia Orrell (1898-1987).

Collection of the Indianapolis Museum of Art, Indiana (accession no. 75.779).

Christie's New York, 17th March 2017, lot 1235.

Lot 185. A molded archaistic celadon-glazed handled vase, Qing dynasty, 18th century. Height  22.9 cm, Estimate 6,000 - 8,000 USD. Lot sold 4,800 USD. © Sotheby's.

Provenance: Collection of Arthur Crossland, Bradford.

Sydney L. Moss, London, 15th February 1965.

Lot 190. A large and rare carved Qingbai-glazed 'floral' vase, Qing dynasty, 18th century. Height  50 cm, Estimate 8,000 - 12,000 USD. Lot sold 7,201 USD. © Sotheby's.

Provenance: Vancouver Private Collection, acquired prior to the 1930s.

Lot 186. Property from the Junkunc Collection. An apple-green-glazed bottle vase, Qing dynasty, 18th-19th century. Height  20 cm, Estimate 3,000 - 5,000 USD. Lot sold 9,600 USD. © Sotheby's.

Provenance: Frank Caro, successor to C.T. Loo, New York, 12th November 1964.

Collection of Stephen Junkunc, III (d. 1978).

Lot 186. Property from the Junkunc Collection. An apple-green-glazed baluster vase, Qing dynasty, 18th-19th century. Height  16.5 cm, Estimate 3,000 - 5,000 USD. Lot sold 11,400 USD. © Sotheby's.

Provenance: Frank Caro, successor to C.T. Loo, New York, 6th December 1961.

Collection of Stephen Junkunc, III (d. 1978).

Lot 186. A copper-red-glazed apple-shaped jar, Qing dynasty, 18th-19th century​​​​​​​. Diameter 10cm, Estimate 6,000 - 8,000 USD. Lot sold 14,400 USD. © Sotheby's.

Lot 184. A celadon-glazed quadrilobed planter, Seal mark and period of Daoguang (1821-1850). Width 21.2 cm, Estimate 5,000 - 7,000 USD. Lot sold 12,000 USD. © Sotheby's.

the base with six-character seal mark in underglaze blue

Provenance: New York Private Collection.

Lot 195. Property from the Barbara and Lester Levy Collection. A rare copper-red-glazed pear-shaped vase (Yuhuchunping), Mark and period of Xianfeng (1851-1861). Height 28.5 cm, Estimate 10,000 - 15,000 USD. Lot sold 22,800 USD.  © Sotheby's.

the base with a six-character mark in underglaze blue

Lot 196. A blue-glazed 'trigram' cong-form vase, Mark and period of Guangxu (1875-1908). Height 28.7 cm, Estimate 8,000 - 12,000 USD. Lot sold 9,600 USD.  © Sotheby's.

the base with a six-character mark in underglaze blue

Provenance: Christie's New York, 18th March 2016, lot 1632

Lot 189. A pair of white-glazed cups, Marks and period of Xuantong (1909-1911). Diameter 7.3 cm, Estimate 5,000 - 7,000 USD. Lot sold 10,200 USD. © Sotheby's.

Sotheby's. Chinese Art, New York, 18 September 2024