Fine Chinese famille rose 'peach and bat' porcelain vase, Daoguang mark and of the period. Bottle form, turquoise interior lappet band to gilded rim, over body well enameled to show peach and iron-red Fu bats, over scrolling sea, blue scroll glazed foot rim, iron red mark on light blue ground to base. H: 12 in. Estimate $15,000-20,000. 

PHILADELPHIA, PA.- Asia Week is rapidly approaching and as auction houses up and down the East Coast prepare to receive hundreds of Asian Art collectors and enthusiasts, Freeman's anticipates yet another record-breaking sale. This September 9, 2012 Freeman's will offer a selection of Chinese porcelain from collector and interior designer, Frank J. Schwind. The sale is highlighted by three lots: lot 757, a Qianlong flambé glazed vase and lot 762, a Daoguang famillé rose "peach and bat" vase, $20,000-30,000 and $15,000-20,000 respectively. The sale will also include a painting by renowned Southeast Asian artist, Lee Man Fong, titled "Compoon," lot 115, estimated at $60,000-100,000. 

Lee Man Fong's "Compoon" is new to the market and has impeccable provenance-the current owner was a close friend of the artist. In recent years, Lee is increasingly sought after in auctions for his unique style and for integrating oriental aesthetics with Western techniques. His work, "Bali Life" realized $3,243,590 (including buyer's premium) at auction in 2010, setting an auction record for a Southeast Asian painting. 

Qianlong and Daoguang court kilns achieved an unrivaled mastery of technique, producing some of the most collectible porcelain works in history. The flambé vase demonstrates quality craftsmanship and is covered in a thick red and bright purple glaze, flanked on each side with intricately molded ruyi handles. The famillé rose vase uses the peach and bat emblems to convey a wish of longevity and fortune. 

The combination of China's rising prosperity and Freeman's strong presence in the Asian Art field result in record auc tion prices. Highlights from Freeman's recent sales include a Ming Dynasty gilt bronze and cloisonné covered jar sold in March 2012 for $1.54 million, an Imperial jade seal realized $3.5 million in Septe mber 2011, and a blue and white Ming-style vase in the March 2011 sale sold for $1.38 million. 

Freeman's expects the September sale to be no different. Richard Cervantes, Associate Specialist of Freeman's Asian Art Department said, "This is an exceptional collection; filled with highly desirable and collectible pieces. We are thrilled to have these works at Freeman's and anticipate a large and diverse group of international buyers at this upcoming sale." 

Lee Man Fong (chinese/indonesia), "Compoon". Framed, signed, stamped with artist's seal. H: 39 in. x L: 78 in. Estimate $60,000-100,000. Sold for $1,100,000. Photo courtesy Freemans Auctions

Provenance: Property of a Pennsylvania Lady 

'As a young woman living in Indonesia in the early 1950's, I had a great interest in art. In turn, I became close friends with an art dealer and gallery owner in Bandung named Art Land Lee. Mr. Lee introduced me to some of the leading artists of Indonesia, my favorite of which was the Chinese-Indonesian artist, Lee Man Fung. His home and studio were in a "compoon" or village, on the outskirts of Djakarta. 

His residence very much resembled the bamboo houses depicted in his paintings. His studio consisted of four rooms in the back of his house, behind the compound's main road. The walls were lined with stacked paintings, one leaning against the other. Lee Man Fung was a gracious and personable man and on many occasion, we would spend a lovely afternoon together drinking tea and engaging in delightful conversation. 

During one of my visits though, I found Lee Man Fung disturbed and frustrated. As President Sukarno's palace artist, he had been commissioned to paint an underwater mural for the new Hotel Indonesia, the country's first tourist hotel. I found Lee Man Fung's painting of the mural to be a wonderfully executed, underwater scene which covered the entire end wall. President Sukarno however thought it too dark and even though the mural was finished, the president had demanded Lee Man Fung to "lighten it up." Unfortunately, this request required Lee Man Fung to repaint the mural. 

On that day, I bought the painting which lifted his spirits immensely. When I was ready to leave, he told me he would frame the painting himself with a wonderful solid teak frame of his design. The painting, in his own Chinese style, is that of an Indonesian "compoon." The painting depicts the area's serenity as well as the artist's longing for his Chinese homeland.' Note from the Consigner

Painting is framed; it is in generally good overall condition apart from some mostly minor localized areas with some apparent (?) minor spotty fill and slight surface abrasion/scratches. 

In areas of the upper center right, lower center right and lower right, there are isolated clusters of tiny specks which appear whitish and matte in natural, raking light. These groups of specks - most linear - appear darker under u.v. light vis-à-vis surrounding areas, and thus may represent minor fill (i.e. tiny areas of pinpoint restoration). They include: in the river at lower right, an approx. 6 inch long 'area' of specks that appear dark under u.v. light, along with approx. 3 inch and approx. 4 inch similar areas at lower center right; an approx. 5.5 inch area at the roof at upper right (easily visible in the natural raking light, and of greater width than the areas noted in the river); in the sky at upper center right (dispersed specks that appear dark under u.v. light). 

In part of the river at lower right, in an area to the right of the shore and emanating ripples, there are a series of whitish spots/specks visible in natural light, and to the touch, slightly recessed in depth vis-à-vis the surrounding surface area. These whitish spots may be intentionally painted by Fong, or they may represent small losses that have been filled in. 

In parts of the tree tops at upper center and upper center left there are some apparent, generally minor surface abrasions. At upper center, though a tree, there appears to be an approx. 7 inch long thin horizontal surface scratch (presumably not by Fong's intent) 

At an area near bottom of picture at lower center there are what appear to be some tiny surface losses - though these 'losses' may not be a condition flaw, but rather by Fong's intent. 

At outer left edge, there are a series of visible nail heads - most certainly Fong's intent as a part of having the picture housed within the frame. 

As visible in the catalogue and online photographs, there are some somewhat whitish, diffuse passages located at parts of the tree tops at upper center left. These areas are presumably by Fong's intent - and thus most likely not a condition flaw - and visually appear to break up some of the greenish hue in the tree foliage. 

There are small, localized areas that have a dark brown appearance. We believe these represent collected areas of pigment, and are thus neither restorations nor darkened foreign material on parts of the painting surface.