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6 octobre 2024

Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 12. An extremely rare doucai 'dragon and phoenix' bowl, Mark and period of Kangxi (1662-1722). Diam. 13.4 cm. Lot sold 72,000 USD (Estimate 30,000 - 50,000 USD). © Sotheby's.

 

the base with a six-character mark in underglaze blue within a double circle, wood stand (2)

Provenance: Collection of John Oswald Liddell (1858-1918), and thence by descent

NoteVividly rendered in soft washes of colored enamel delicately outlined in cobalt, this doucai bowl painted with dragons and phoenixes amidst meandering lotus scrolls is extremely rare. Only one other bowl of this design with a Kangxi mark appears to be known. It was previously in the collection of Alfred Julius Forkel, who documented the bowl in his diary during his travels in China between 1901 and 1910, and was recently sold at Nagel Auctions, Stuttgart, 12th June 2023, lot 46.

 

Compare a doucai bowl also with a Kangxi mark, but decorated with dragons soaring amidst billowing clouds, in the Palace Museum, Beijing (accession no. 故00146794). For a Kangxi marked doucai jardinière painted in the same style, with two dragons facing a shou medallion in the center, see one in the National Palace Museum, Taipei (accession no. 故瓷009233N000000000).

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 144. A wucai 'dragon and phoenix' dish, Mark and period of Kangxi (1662-1722). Diam. 32 cm. Lot sold 102,000 USD (Estimate 20,000 - 30,000 USD). © Sotheby's.

 

 

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

NoteCompare with two closely related examples, one sold in our Hong Kong rooms, 3rd October 2018, lot 3656, and the second sold in these rooms, 11th September 2019, lot 615. See also two slightly smaller examples: the first sold in our Hong Kong rooms, 7th October 2015, lot 3709, the second sold in our London rooms, 15th May 2019, lot 41. A dish with the same composition was included in the Oriental Ceramic Society exhibition, The Animal in Chinese ArtLondon, 1968, cat. no. 116; another in the Victoria and Albert Museum is illustrated in John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, pl. 192. 

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 145. An incised famille-verte biscuit 'flower and butterfly' bowl, Mark and period of Kangxi (1662-1722). Diam. 15.1 cm. Lot sold 30,000 USD (Estimate 8,000 - 12,000 USD). © Sotheby's.

 

the base with a six-character mark in underglaze blue within a double circle, wood stand (2)

Provenance: Collection of Dr. and Mrs. William B. Pettus (1880-1953).

Collection of Hobart (1917-2008) and Adele B. (1930-2016) Hanson, received as a wedding gift in 1952, and thence by descent.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 146. A rare and large famille-verte 'Magu and attendant' charger, Qing dynasty, Kangxi period (1662-1722). Diam. 39 cm. Lot sold 54,000 USD (Estimate 30,000 - 50,000 USD). © Sotheby's.

 

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

Provenance: Collection of Yen Yu-Tang (1880-1958).

Collection of Ching-Zai Yen (Yan Junzhan, 1901-1969), gifted as a wedding present from the above circa 1920, and thence by descent.

Note: Brightly enameled, the present charger is decorated with a central medallion depicting Magu holding a ruyi scepter accompanied by a female attendant and a stag hauling a cart that holds a wine jar with a lotus leaf cover.

 

The Daoist female deity Magu is recorded in the Jin dynasty text Shenxian zhuan [Biographies of the divine immortals] and is believed to have lived during the Han dynasty. Commonly known to be the goddess of immortality, Magu is usually seen decorating wares that were meant to signify wishes for longevity. Further portrayed with bats flying in the sky as well as a handsome gnarled pine tree standing atop a rocky hill, the present charger would have been a fitting birthday gift, wishing the recipient a long and prosperous life.

 

Although similar chargers depicting Magu and attendants are known from the Kangxi period, the present charger is exceptionally rare on account of its elaborate composition and distinctly-painted rockwork in the foreground. Only one other closely related charger of this composition and painting is known: previously in the collection of Henry Lawrence, it was sold at Woolley & Wallis Salisbury, 23rd May 2024, lot 1082. For chargers depicting Magu accompanied by an attendant and a spotted stag, with a plain background, see one formerly in the Art Institute of Chicago, Chicago, sold at Christie's New York, 12th September 2019, lot 734; one sold in these rooms, 18th March 2014, lot 433; and another, from the Yingqingge Collection, sold at Christie's Hong Kong, 1st June 2011, lot 3732. See one, depicting Magu with two other female attendants and a stag, with rockwork in the foreground and background, sold at Christie's New York, 15th September 2011, lot 1493.

 

Yen Yu-Tang, a native of Suzhou, founded the Oriental Engineering Works in Shanghai in 1902. The company quickly became a leading supplier of textile machinery and expanded into textile manufacturing, growing into the largest manufacturer of textile in Suzhou in 1925. His second son, Ching-Zai Yen was one of the founders of Yulon Motors. Historically one of Taiwan's 'big four' automakers, Yulon is now one of the two largest automotive companies in Taiwan.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 176. A wucai 'fish' dish, Qing dynasty, Kangxi period (1662-1722). Diam. 19.5 cm. Lot sold 9,600 USD (Estimate 8,000 - 12,000 USD). © Sotheby's.

 

 

the base with a double circle in underglaze blue

ProvenanceConnecticut Private Collection.

NoteSee a closely related dish, previously in the James and Marilynn Alsdorf Collection, sold at Christie's New York, 24th September 2020, lot 838.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 178. Property from the Junkunc Collection. An inscribed famille-verte 'kingfisher and lotus' vase, Qing dynasty, Kangxi period (1662-1722). Height 20.3 cm. Lot sold 15,600 USD (Estimate 8,000 - 12,000 USD). © Sotheby's.

 

with a ten-character poetic inscription signed Yunqiao in black enamel, followed by an iron-red seal reading Zhushiju

Provenance: J.T. Tai & Co., Inc., New York, 9th March 1964. 

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

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 179. A famille-verte 'figural' brushpot, Qing dynasty, Kangxi period (1662-1722). Height 15.5 cm. Lot sold 7,200 USD (Estimate 5,000 - 7,000 USD). © Sotheby's.

 

ProvenanceNew York Private Collection

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 181. A large pair of famille-verte 'ladies' octogonal vases and covers, Qing dynasty, Kangxi period (1662-1722). Height 57.8 cm. Lot sold 5,040 USD (Estimate 6,000 - 6,000 USD). © Sotheby's.

 

ProvenanceHelen Glatz, London.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 182. Two famille-verte 'landscape' octogonal vases and covers, Qing dynasty, Kangxi period (1662-1722). Height 67.3 cm. Lot sold 7,200 USD (Estimate 10,000 - 15,000 USD). © Sotheby's.

 

Provenance: Collection of the Earl of Harewood.

Christie's London, 31st May 1965, lot 30 (part lot).

Helen Glatz, London.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 10. A rare yellow-ground green-enameled famille-rose 'bats and cloud' bowl, Mark and period of Yongzheng (1723-1735). Diam. 15.2 cm. Lot sold 204,000 USD (Estimate 60,000 - 80,000 USD). © Sotheby's.

 

the base with a six-character mark in underglaze blue within a double circle, wood stand (2)

Provenance: Collection of John Oswald Liddell (1858-1918), and thence by descent

Note: Finely thrown with a splayed foot and steeply rounded form, this bowl exudes a sense of imperial elegance and is among the highest quality of porcelain produced by the Imperial Workshop under the reign of the Yongzheng Emperor (r. 1722-1735). However, this piece is more than just technically fine, it also represents a rare feat of innovation.

 

From as early as the Tang dynasty, artisans had experimented with the combination of yellow, green and white glazing. Known as sancai or the 'three colors', this glazing scheme became a staple of the pottery studio and was adopted and adapted to match ever-improving firing technologies. Even by the time porcelain production began at the imperial kilns at Jingdezhen, the palette of sancai was never abandoned. Usually without the inclusion of white slip, vibrant patterns of green enamels on a yellow ground – particularly those featuring five-clawed dragons among the clouds – were a rare but treasured feature of Ming and Qing imperial collections. 

 

The present lot, however, takes things one step further. Adding to the sancai palette with overglaze enamels from the famille rose palette, the potter lends the design of twelve bats, ribbons and gourds a remarkable sense of vibrancy and naturalism. The red enamel pooling over the white slip below renders the bats in a variegated pink hue, while splotches on the pale-green gourds lend them a lifelike depth. This combination of glazes is extremely rare and was only produced during Yongzheng's brief reign. Only one other known design from the Yongzheng period shares this color scheme, namely a pattern of cranes carrying the emblems of the Eight Immortals; compare a bowl from the H.M. Knight Collection, sold in our Hong Kong rooms, 15th November 1983, lot 263 and illustrated in Chinese Porcelain: The S.C Ko Tianminlou Collection, Hong Kong Museum of Art, Hong Kong, 1987, cat. no. 101, which quotes Geng Baochang calling this variety 'a new type of wucai ('five colors')'.

 

This bowl is also imbued with auspicious symbolism. A homophone of the word fu, meaning 'good fortune,' bats are a common motif in Chinese art said to grant the owner success. Similarly, a rebus for good fortune and rank (fulu), double gourds (hulu) are also a commonly used symbol and associated with the life-giving magic of the Immortals who are often depicted carrying them.

 

A very similar bowl in the collection of the Palace Museum, Beijing has been widely published including in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, pl. 67 and The Complete Collection of the Treasures of the Palace Museum: Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 83. Compare also a bowl from the Constantinidi Collection, sold in our London rooms, 8th July 1947, lot 24 and illustrated in Soame Jenyns, Later Chinese Porcelain: The Ch'ing Dynasty (1644-1912), London, 1951, pl. LXIX, no. 3; and another from the collection of the British Rail Pension Fund, sold in our Hong Kong rooms, 16th May 1989, lot 78, and again, 11th July 2020, lot 3620.

 

John Oswald Liddell (1858-1918) was the brother of Captain Charles Oswald Liddell (b. 1851). The brothers are known for their joint venture (Liddell Bros. & Co.) in Shanghai in the late 19th century. Both John and Charles were avid collectors of Chinese art. Charles O. Liddell lived in China from 1877 to 1913. During these years he acquired porcelains from the collections of Yikuang, Fourth Prince Qing, the last Regent of the Qing dynasty, and from the private secretary and adviser of Li Hongzhang, influential statesman and diplomat around the same time. Upon his return to England he settled in Wales, where he added distinct Asian-inspired design to an ancient manor house, Shirenewton Hall, by planting a Japanese-style garden with East Asian plants, erecting Oriental pavilions, and installing a large Chinese temple bell on the lawn. His collection was largely sold by Bluett & Sons, London, in 1929. John O. Liddell also formed his own collection of Chinese art, although the collection was less well-known to the public. After John passed away, the collection remained in the family and was inherited by the descendants. The pair to this bowl, also from the John Oswald Liddell collection, is offered as lot 11 in this sale.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 11. A yellow-ground green-enameled famille-rose 'bats and cloud' bowl, Mark and period of Yongzheng (1723-1735). Diam. 15.2 cm. Lot sold 42,000 USD (Estimate 10,000 - 15,000 USD). © Sotheby's.

 

the base with a six-character mark in underglaze blue within a double circle, wood stand (2)

Provenance: Collection of John Oswald Liddell (1858-1918), and thence by descent

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 153. A famille-rose 'ladies' jar, Qing dynasty, Yongzheng period (1723-1795). Height 20.6 cm, wood cover, wood stand (3). Lot sold 28,800 USD (Estimate 10,000 - 15,000 USD). © Sotheby's.

 

Provenance: Yatsuhashi, Boston, circa 1963.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 152. A rare and finely painted famille-rose 'Eighteen luohan' bowl, Qing dynasty, Yongzheng-Qianlong period (1723-1795). Diam. 39.4 cm, gilt stand. Lot sold 26,400 USD (Estimate 30,000 - 50,000 USD). © Sotheby's.

 

Provenance: Collection of Oscar Roy Chalk (1907-1995).

NoteThe present bowl is distinguished by its painterly design and exceptional, well-preserved enamel. Crafted by potters at the Imperial kilns in Jingdezhen, Jiangxi province, it exemplifies the high-quality workmanship of Qing dynasty porcelain. Compare a related bottle vase, attributed to the 18th century, of similar quality of painting, sold in our Paris rooms, 9th June 2011, lot 86.

 

The depiction of the eighteen luohan suggests that this vase was likely commissioned by a devout Buddhist or to commemorate an auspicious event such as a wedding or birthday. Initially, the luohan comprised only sixteen disciples of Gautama Buddha, but during the late Tang dynasty, two additional figures - the patron, Hvashang and the attendant, Dharmatala - were added, bringing the total to eighteen, a number that gained popularity in the Song dynasty and remains significant today.

 

Oscar Roy Chalk (1907-1995) was a prominent American businessman and philanthropist known for his diverse investments in real estate, transportation, media, and art. Chalk was a key figure in international relations, aiding in the creation of Russia's first post-USSR constitution and receiving South Korea's National Medal of Honor for his contributions.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 154. A large famille-rose 'figural' basin, Qing dynasty, Yongzheng-Qianlong period (1723-1795). Diameter 40.1 cm. Lot sold 62,400 USD (Estimate 30,000 - 50,000 USD). © Sotheby's.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 13. A rare and large doucai jardinière, Seal mark and period of Qianlong (1735-1796). Diam. 33 cm. Lot sold 540,000 USD (Estimate 300,000 - 500,000 USD). © Sotheby's.

 

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

ProvenanceCollection of Sir Francis Cook, 1st Baronet, 1st Viscount Monserrate (1817-1901).

Collection of Sir Frederick Cook, 2nd Baronet (1844-1920). 

Collection of Sir Herbert Frederick Cook, 3rd Baronet (1868-1939).

Collection of Sir Francis Ferdinand Maurice Cook, 4th Baronet (1907-1978), until 1946.

Leiria & Nascimento, Casa Liquidadora, 'Auction of the Contents of the Monserrate Palace', 9th November 1946.

Portuguese Private Collection.

Cabral Moncada Leilões, Lisbon, 27th September 2016, lot 425.

Note: The present jardinière belongs to a small group of vessels that successfully incorporate two decorative styles – the doucai palette invented in the Ming dynasty, and famille-rose enamels developed in the Yongzheng period. The sturdily potted vessel, densely painted with Rococo-inspired composite floral scrolls outlined in cobalt blue and enhanced by bright, opaque enamels, represents the Qianlong Emperor's eclectic taste that shaped the development of ceramic arts during his reign.

 

A few similar jardinières are preserved in major museums, including one from the J.M. Hu Collection in the Shanghai Museum, published in Selected Ceramics from the Collection of Mr. and Mrs. J.M. Hu, Shanghai, 1989, cat. no. 68; another in the Idemitsu Museum, Tokyo, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 947; and a further example in Sekai tōji zenshū / Ceramic Art of the World, vol. 15, Tokyo, 1983, pls 94 and 95. Compare also two examples sold in these rooms, 2nd May 2000, lot 675; and another 12th October 2021, lot 17.

 

The present jardinière was formerly housed in The Monserrate Palace (Palácio de Monserrate), a palatial villa located near Sintra, the traditional summer resort of the Portguese court. Displaying an eclectic combination of Romanticism, Mudéjar Moorish Revival architecture and neo-Gothic elements, the property became the romantic haunt of a succession of Englishmen from the 18th to 20th centuries. In 1793/94, the estate was to leased to William Thomas Beckford (1760-1844), the English novelist and heir to a great fortune who oversaw the construction of Fonthill Abbey in Wiltshire to house his extensive art collection. Lord Byron (1788-1824), the English poet and peer, visited in 1809 on his European tour, and describes the beauty of Sintra and the Monserrate estate in his 1812-18 poem Childe Harold's Pilgrimage. In 1855, Sir Francis Cook, the British textile merchant and art collector, subleased the estate and embarked on an extensive restoration project of the house and grounds, for which he was subsequently graced with the title of Viscount of Monserrate by King Luís I in 1870. Cook was a notable art collector, and under the guidance of the former Victoria and Albert Museum curator, Sir John Charles Robinson (1824-1913), built an extensive collection of classical European sculpture, Chinese porcelain and Old Master paintings – including, most notably, Leonardo da Vinci's Salvator Mundi, which he acquired in 1900 and which most recently sold at Christie's New York, 15th November 2017, lot 9B. His collection was left, in trust, to his eldest son and heirs; however, in light of the declining family fortune as a consequence, in part, of World War I, by 1928, his great-grandson, Francis Ferdinand Cook had been attempting to sell the property and its contents. In 1946, it was announced that the contents of the Monserrate Palace were to be sold at public auction. The auction included the sale of a number of exceptional Chinese porcelains, including a pair of doucai fish bowls, which had adorned the dining room at the Monserrate Palace.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 19. A gilt and famille-rose figure of Amitayus, Qing dynasty, Qianlong period (1735-1796). Height 29.6 cm. Lot sold 96,000 USD (Estimate 60,000 - 80,000 USD). © Sotheby's.

 

Note: Amitayus, a form of the buddha Amitabha and signifying 'Infinite Life', was a particularly popular deity in the court of the long-reigning Qianlong Emperor. Countless images of the deity were produced during the Qianlong period, particularly in gilt-bronze, and large sets were often commissioned for important birthdays such as the emperor's sixtieth or seventieth; images of Amitayus in famille-rose porcelain, however, were relatively rare and only a handful of such works have survived. Of the extant examples, some figures are depicted with naturalistic skin tones, while others, including the present example, bear gilding on the surface of the body.

A closely-related example, with gilt skin and of nearly identical height, was sold in our Paris rooms, 16th December 2010, lot 196, and another similar figure with naturalistic skin tone was sold in these rooms, 23rd March 2011, lot 729. More recently, another example with naturalistic skin tone was sold at Christie's New York, 23rd September 2022, lot 918. All three noted examples differ only slightly from the present work in the decoration of the robes; in contrast to the circular medallion foliate motif on the dhoti and small stipples on the sash of the three other works, the present work has an ornate scrolling vine on both the upper and lower garments.

Such figures can also be viewed in the context of the Qianlong court's fascination with trompe l'oeil, especially the imitation in porcelain of other artistic materials through the clever use of special glazes: 'Teadust' glaze was used to imitate the patinated green of bronze vessels, while 'faux bois' glazes emulated the grain of wood. In the present case, the gilt of the figure's skin and the bright colors of the lotus base and drapery may have been meant to reproduce representations of Amitayus that were carried out in gilt-bronze and cloisonné, including an example sold at in our Hong Kong rooms, 4th October 2011, lot 1974.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 20. An extremely large and rare famille-rose figure of Puxian seated on an elephant, Qing dynasty, Qianlong period (1735-1796). Height 69.5 cm. Lot sold 1,236,000 USD (Estimate 500,000 - 700,000 USD). © Sotheby's.

 

Provenance: American Private Collection, until 1970s.

NoteThis figure of Puxian, depicted with a brilliant and serene facial expression, sitting in lalitasana - the pose of 'royal ease' - upon a ferocious six-tusked elephant, is among the finest examples of Qing porcelain sculpture ever recorded.

Puxian (Samantabhadra in Sanskrit, literally 'Universal Joy') is the primary bodhisattva associated with practical adherence to Buddhist teachings. Discussed in great detail in the Guan Puxian Pusa xingfa jing ('Puxian Meditation Sutra'), an epilogue to the famous Lotus Sutra, Puxian is deified as a paragon of Buddhist practitioners and symbolic of the value of meditation and repentance. As the sutra explains, although Puxian is generally regarded as transcendental and amorphous, he is able to transform himself into a white six-tusked elephant when visiting the Earth. 

A devout Buddhist with close political ties to the lamas of Tibet, the Qianlong Emperor (r. 1735-1795) was a passionate collector of Buddhist icons and frequently ordered the Imperial Workshop to produce new pieces to adorn his palaces in the Forbidden City and beyond. Primarily made of gilt-bronze, these images at their best are among the finest examples of religious iconography ever produced: exceedingly fine in their attention to detail; almost life-like in their carefully rendered expressions and, above all, wondrously grand in their sumptuous adornment.

While many exceptional bronze figures from this period survive, porcelain icons decorated in enamel are incredibly rare, owing to the fragility of the medium and the immense technical challenge of refiring pieces of this size. However, despite all odds, a few of these rare figures have survived and may be categorized into two somewhat distinct stylistic groups:

The most common of these porcelain Buddhist images made at the imperial kilns are those directly imitating gilt-bronze prototypes. Heavily gilded to the face, arms and torso, these figures follow a number of early Ming bronze prototypes made in the Palace Workshops as gifts for prominent Tibetan lamas. Of this group, the majority are adorned with flowing robes, crowns and jewelry enameled in 'robin's egg' and 'café-au-lait' glazes with details highlighted in turquoise, blue and gold. Compare two attendants of this design, each roughly 29 cm tall, sold together at Christie's New York, 24th March 2011, lot 1748; and another from the Malcolm MacDonald Collection, now in the Oriental Museum, University of Durham (accession no. DUROM.1969.358), illustrated in Ireneus Legeza, A Descriptive and Illustrated Catalogue of the Malcolm MacDonald Collection of Chinese Ceramics, London, 1972, cat. no. 384, pl. CXLI.

The second group, to which the present lot belongs as a superlative example, are those adorned in famille-rose enamels. Sometimes gilded, though more often left a peachy tone or white in a conspicuous nod to the much beloved Dehua wares of Fujian province, the subtle almost watery skin of these figures lends them an ineffable radiance while a vivid palette of colorful enamels pays homage to the Tibetan tradition of brightly decorated icons. By far the most common figures of this style are those of the Amitayus with his hands resting on his lap, supporting an overflowing amrita vessel. Though debate continues as to the exact origins of this sub-group, it seems likely that they were made concurrently to celebrate an imperial birthday. See an example said to come from the Imperial Palace exhibited at the Exhibition of Chinese Arts, C. T. Loo & Co., New York, 1941, cat. no. 750, alongside two smaller famille-rose elephants, no. 749; another from the collection of Sir Augustus Wollaston Franks, now in the British Museum (accession no. Franks.582,+); and another sold in our Hong Kong rooms, 29th October 2001, lot 606. Other than Amitayus, several other deities are known to have been depicted in famille-rose enamels including White Tara, Green Tara and Guanyin. 

However, to date, no other porcelain figures of Puxian appear to have ever come to market. Even among smaller bronze figures, Qing imperial images of Puxian are exceedingly rare. Compare a very fine gilt-bronze example sold in our Hong Kong rooms, 7th October 2010, lot 2792.

Ignoring, for a moment, the rarity of the subject matter, the sheer scale and grandeur of this piece make it a rare treasure in its own right. From the quality of the gilded floral scrolls and wanzi diaper design across the dhoti and scarf to the bright variegated pink hues of the lotus throne, this figure is a testament to the remarkable craftsmanship of Qianlong's workshop. Apparently the largest figure of this type ever to appear at auction, even the mere task of successfully sculpting and firing this figure would have been a herculean effort rarely attempted.

Mention must also be made to the quality of Puxian's mount. Rendered just as well – if not more finely – than its rider, the six-tusked elephant of Puxian is a remarkable piece of sculpture in its own right. Adorned with crisply enameled floral scrolls and the unmistakable imperial symbol of the five-clawed dragon, this grand elephant makes a conspicuous nod to similar Qianlong pieces in cloisonné enamel often used as stands for lamps and vases. Compare, for example, a pair of Qianlong period cloisonné elephants of comparable size ridden by smaller figures of a monk and warrior, sold in our Monaco rooms, 13th February 1983, lot 370.

Well-versed in the complex iconographic canon of Tibetan Buddhism and never one to cut costs, Qianlong often commissioned figures as part of larger groups; as if to bring a thangka or mandala to life in three dimensions. See, for example, a complex 'triptych' layout still preserved on the first floor of the Yuhuage ('Pavilion of Raining Flowers') in the Forbidden City, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 103. In this iconographic system, figures of Puxian on an elephant were almost always accompanied by their counterpart, fellow bodhisattva Wenshu (Manjushri) riding a lion. This pair was also often part of a broader arrangement, serving as attendants to a central figure of Shakyamuni Buddha or in a trio as the San Dashi ('Three Great Bodhisattvas') together with Guanyin riding a mythical hou.

A record in the Qing gong chenshe dang'an ('Archives of the Arrangement of the Qing Palace') from 1780 describes the layout of the Zhongzhengdian ('Hall of Rectitude') in the Imperial Palace complex. This hall, used during imperial birthday celebrations as a place of Buddhist worship, was destroyed in a fire in 1923 but was at one point filled with Buddhist icons. The record goes on to describe the 'west adjoining hall' (Xipeilou) as follows:

'In the center lies a yangcai porcelain Wenshu Bodhisattva riding a lion (...) On the left lies a yangcai porcelain Puxian Bodhisattva riding an elephant (...) and on the right a yangcai porcelain Guanshiyin Bodhisattva riding a hou.'

Although this trio of San Dashi may refer to three figures preserved in the Palace Museum, Beijing – illustrated in Ma Yunhua, 'Qi huan gui li: Qing dai gongtang cang cizhi zang chuan fojiao jingpin [Fantastic and Magnificent: Tibetan Buddhist Porcelain Made in the Imperial Court of the Qing Dynasty]', Forbidden City, 2016 (1), no. 134, pp 68-69 – the quality of the present lot and this clear evidence of imperial demand for such a statement piece leave little doubt as to its importance: a one-of-a-kind imperial treasure, likely made for the devout Emperor himself.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 151. An impressive ruby-ground 'yangcai' sgraffiato 'lotus' vase, Seal mark and period of Qianlong (1735-1796). Height 25.5 cm. Lot sold 996,000 USD (Estimate 300,000 - 500,000 USD). © Sotheby's.

 

the base with a six-character seal mark in iron red within a square, together with a Hong Kong Art Craft Merchants Association Limited certificate dated to 30 June 1998, wood stand (2)

 

Provenance: Asian Private Collection. 

Christie's Hong Kong, 29th November 2022, lot 3007. 

ExhibitedTreasures of Hong Kong: The 20th Anniversary of Hong Kong's Handover, Capital Museum, Beijing, 2018, cat. no. 188.

Note: The porcelains produced by the imperial kilns at Jingdezhen for the Qianlong Emperor (r. 1735-1795) are characterized by the phenomenal opulence of their decoration as well as the rich spectrum of their enamels. The present vase with its radiant colors and delicate sgraffiato work is no exception. Although these colored enamels and Rococo floral designs brought by European artisans were known to the Qing court as yangcai, 'foreign colors', as time went on and techniques developed, one begins to observe in these masterpieces a true synthesis of foreign and Chinese motifs: a celebration of world craftsmanship, perfected in China.

The Rococo style, with its exuberant use of interlaced C- and S-shaped curves, originated in Paris in the early eighteenth century and quickly spread throughout France, Germany, Italy and beyond. It was a light and mellifluous style, that breathed fresh air into the heavier baroque art and architecture in Europe and similarly introduced a more cheerful element into the more sedate aesthetics that had prevailed in the Kangxi (1661-1722) and Yongzheng (1722-1735) reigns. 

Although some ruby-ground yangcai pieces appear so Rococo in style that they could be attributed to European artisans, the present vase seamlessly blends the leaf-scrolls and pastel flowers of Europe with the characteristic Chinese shape of the auspicious ruyi emerging from the background. Indeed, though the decoration of this vase may owe much to European design influences, its archaistic hu shape is firmly rooted in Chinese history, inspired by the ancient bronzes that once stood in its place as symbols of power and opulence.

Sgraffiato, or sgraffito – the carving through a surface layer to reveal a contrasting layer below – is a versatile technique that has been long been used in ceramics around the world, and came to prominence in China as early as the Song dynasty (960-1279), for example, at the Yaozhou and Cizhou kilns. As enameling on porcelain developed, the sgraffiato technique was adapted once again, carving through a layer of enamel, down to the glazed porcelain underneath and revealing the design in white. This development appeared around the same time in both the imperial enameling workshops of the Forbidden City and the imperial kilns at Jingdezhen though the latter tended to produce more delicate elevated designs than the former's more formal diaper grounds. Liao Pao Show attributes the introduction of this technique to Jingdezhen to a increased effort from 1741 onwards by Tang Ying (1682-1756), the long-time supervisor of the imperial kilns, to please the Qianlong Emperor, after the latter had criticized the porcelain production of the previous years, see Huali cai ci: Qianlong yangcai/Stunning Decorative Porcelains from the Ch'ien-lung Reign, National Palace Museum, Taipei, 2008, pp 10-41.

Only one other vase of this elegant floral design and archaistic hu shape is known and was almost certainly made as a pair to the present lot. This vase, of almost identical design and proportions, is preserved in the collection of the Hakone Museum of Art in Kanagawa, Japan and illustrated in Toji Taikei: Shin no Kanyo [Ceramic Great Series: Qing Dynasty Imperial Wares], Tokyo, 1973, pl. 76.

Several such yangcai vases with ruby-colored ground are preserved in the National Palace Museum, Taipei: see two vases, together with a wall vase, included in the exhibition Huali cai ciop.cit., cat. nos 18, 19 and 22, all dated by Liao Pao Show to 1741; others attributed to 1743, cat. nos 31, 42 and 43; and contemporary falangcai porcelains with sgraffiato decoration, cat. nos 81-87 and 91-96. A pair to one of these vases is in the Palace Museum, Beijing, see Geng Baochang, ed., Gugong Bowuyuan cang gu taoci ciliao xuancui [Selection of ancient ceramic material from the Palace Museum], Beijing 2005, vol. 2, pl. 204; and another, similar to a pair in Taipei, is in the Capital Museum, Beijing, see Shoudu Bowuguan cang ci xuan [Selection of porcelains from the Capital Museum], Beijing, 1991, pl. 155.

Outside of the museums in Taipei and Beijing, yangcai vases with ruby-red sgraffiato designs are exceedingly rare and no other vases of this shape and design appear to have ever arrived on the market. Compare one meiping decorated with floral scrolls on a ruby sgraffiato ground, from the collections of Alfred Morrison and Lord Margadale of Islay, part of the Fonthill Heirlooms and later the collection of Roger Lam, which featured in numerous exhibitions and publications, sold in our London rooms, 8th/9th July 1974, lot 416, and three times in our Hong Kong rooms, 1980, 1988, and finally 31st October 2004, lot 131; a pair to this meiping is also found in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 361, pl. 42; a pair of ruby-ground sgraffiato vases, reputedly from the imperial collection, is in the Yale University Art Gallery, one of the two illustrated in George J. Lee, Selected Far Eastern Art in the Yale University Art Gallery, New Haven & London, 1970, pl. 53; and finally another grand vase of danping ('gall bladder vase') shape was sold in our Hong Kong rooms, 3rd April 2018, lot 3622; its companion piece on a sgraffiato blue ground is found in the Museum of Fine Arts, Boston, from the collection of Barbara D. Denielson (accession no. 1980.497).

Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 155. A famille-rose 'longevity' plaque, Qing dynasty, Qianlong period (1735-1796). Height 68 cm; Width 29 cm. Lot sold 22,800 USD (Estimate 8,000 - 12,000 USD). © Sotheby's.

 

Provenance: Tillou Gallery, Litchfield, late 1960s.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 164. A green-enameled 'dragon' dish, Seal mark and period of Qianlong (1735-1796). Diameter 17.3 cm. Lot sold 8,400 USD (Estimate 5,000 - 7,000 USD). © Sotheby's.

 

The base with a six-character seal mark in underglaze blue.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 156. A pink-ground famille-rose lobed 'abstinence' plaque, Qing dynasty, Qianlong-Jiaqing period (1735-1820). Lenght 5.4 cm. Lot sold 13,200 USD (Estimate 6,000 - 8,000 USD). © Sotheby's.

 

Note: During the Qing dynasty, the court observed abstinence as part of a ceremonial requirement before worshipping the ancestors, the Heavens and other deities. According to the Daqing Huidian, the ritual cleansing of the body from within, which usually lasted for three days, involved abstention from passing judgment, holding meetings, having sexual intercourse, visiting the mourning, drinking alcohol, eating meat, making sacrifices, or sweeping tombs. Exceptions were made for those on military duty or those who were ill. As a mark of devotion and an admonition to themselves and other participants, the Emperor and all those who accompanied him in these ritual ceremonies wore abstinence plaques. These plaques were made in various materials, including jade, bamboo, painted enamel and porcelain.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 163. A pair of lime-green-ground famille-rose 'tea-poem' lobed trays, Seal marks and period of Jiaqing (1796-1820). Width 15.9 cm. Lot sold 12,000 USD (Estimate 20,000 - 30,000 USD). © Sotheby's.

 

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

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 158. Three 'abstinence' plaques, Qing dynasty, 18th-19th century. Lenght of longest 8 cm. Lot sold 3,360 USD (Estimate 4,000 - 6,000 USD). © Sotheby's.

 

comprising a black-ground brocade plaque, a red-ground brocade plaque and a bamboo-veneer plaque (3)

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 148. A yellow-ground famille-rose 'floral' bowl, Seal mark and period of Daoguang (1821-1850). Diameter 14.9 cm. Lot sold 33,600 USD (Estimate 10,000 - 15,000 USD). © Sotheby's

 

Provenance: Collection of Edward George Pellew Mayers (1840-1911), acquired during his military service in China and Japan between 1870-1880, or by his son Edward Courtenay Pellow Mayers (1878-1933), in China circa 1911.

English Private Collection.

 

 

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 149. A fine pair of pink-ground famille-rose sgraffiato 'medallion' bowls, Seal marks and period of Daoguang (1821-1850). Diameter 15.1 cm. Lot sold 78,000 USD (Estimate 20,000 - 30,000 USD). © Sotheby's

 

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

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 150. A fine blue-ground sgraffiato famille-rose 'medallion' bowl, Seal mark and period of Daoguang (1821-1850). Diameter 14.9 cm. Lot sold 60,000 USD (Estimate 10,000 - 15,000 USD). © Sotheby's

 

Provenance: Collection of John Oswald Liddell (1858-1918), and thence by descent.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 159. Property from the Barbara and Lester Levy Collection. A turquoise-ground famille-rose 'shuangxi' jar and cover, Seal mark and period of Daoguang (1821-1850). Height 28.4 cm. Lot sold 14,400 USD (Estimate 8,000 - 12,000 USD). © Sotheby's

 

the base with a six-character seal mark in iron red (2)

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 160. A large turquoise-ground famille-rose 'shuangxi' tripod censer, Seal mark and period of Daoguang (1821-1850). Height 39.5 cm. Lot sold 16,400 USD (Estimate 30,000 - 50,000 USD). © Sotheby's

 

the rim with a six-character seal mark within a gilt rectangular cartouche, wood cover, wood stand (3)

Provenance: Florida Private Collection, acquired in Pennsylvania in the mid-20th century.

 

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 160. A famille-rose 'lotus' spoon, Qing dynasty, Daoguang period (1821-1850). Length 18 cm. Lot sold 15,600 USD (Estimate 5,000 - 7,000 USD). © Sotheby's

 

he base with a four-character Shendetang zhi hall mark in iron red

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 171. A famille-rose 'prunus and bamboo' bowl, Qing dynasty, Daoguang period (1821-1850). Diameter 17.3 cm. Lot sold 18,000 USD (Estimate 10,000 - 15,000 USD). © Sotheby's

 

the base with a Shendetang zhi hall mark in iron red

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 172. A gilt-decorated famille-rose 'bats and shou' bowl, Qing dynasty, Daoguang period (1821-1850). Diameter 17.6 cm. Lot sold 21,600 USD (Estimate 5,000 - 7,000 USD). © Sotheby's

 

the base with a Shendetang zhi hall mark in iron red

Peovenance: Hong Kong Private Collection.

NoteSee a closely related example in the Palace Museum Collection, illustrated in Congyue Zhao, Porcelains with Inscription of Shendetang Collected by the Palace Museum, Beijing, 2014, pl. 38.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 173. A yellow-ground famille-rose 'shou' pear-shaped vase (Yuhuchunping), Mark and period of Tongzhi (1861-1874). Height 29.5 cm. Lot sold 22,800 USD (Estimate 12,000 - 15,000 USD). © Sotheby's

 

the base with a six-character mark in iron red.

Provenance: Hong Kong Private Collection, acquired between 1990-2008.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 168. A blue-ground green-enameled 'dragon' dish, Qing dynasty, Guangxu period (1875-1908). Diameter 32.3 cm. Lot sold 33,600 USD (Estimate 10,000 - 15,000 USD). © Sotheby's

 

the base with a four-character Chuxiugong zhi seal mark in underglaze blue

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 170. A large yellow-ground green- and aubergine-enameled 'dragon' charger, Qing dynasty, 19th century. Diameter 46.9 cm. Lot sold 4,200 USD (Estimate 5,000 - 8,000 USD). © Sotheby's

 

 

the base incised with an apocryphal Kangxi six-character mark within a double circle.

Provenance: Collection of Henry Graves (1838-1908).

Collection of Duncan Graves.

Collection of Winston Guest (1906-1982).

Ralph M. Chait Galleries, New York, 4th February 1969.

Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024
Chinese Porcelain sold at Sotheby's New York, 18 September 2024

Lot 174. A famille-rose 'geese' waterpot, Republic period (1912-1949). Diameter 11.5 cm. Lot sold 13,200 USD (Estimate 5,000 - 7,000 USD). © Sotheby's

 

the base with an apocryphal four-character Shendetang zhi mark in iron red

ProvenanceSotheby's Hong Kong, 26th-27th May 1980, lot 735.

 

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

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