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China, 1736-1795. The vase is well cast of archaic gu form, superbly decorated around the rounded mid-section with lotus sprays and bats enclosed by linked fret scrolls. The trumpet neck and spreading foot are enameled with hanging plantain leaves enclosing lotus blossoms and scrollwork, dividing further lotus sprays borne on tendrils. The flared mouth rim is embellished around the exterior with the Bajixiang, the Eight Buddhist Emblems, and four Shou medallions amidst lotus blooms on the interior.

Provenance: A highly important Austrian private collection, acquired during the first half of the 20th century, and thence by descent within the same family. Dorotheum, Vienna, 9 December 1992, lot 229. A Viennese private collection, acquired from the above. Old inventory label from Dorotheum to base.
Condition: Superb condition with minor traces of use and manufacturing irregularities, including expected pitting, minuscule losses to enamels with associated old fills, few microscopic nicks, expected wear to gilt, light scratches to base. Please request a video, shot under strong blue light, to see the magnificent condition of this lot for yourself. Overall, such a large cloisonné vessel, dating from the 18th century, that comes in such a pristine state of preservation must be considered extremely rare.

Weight: 2,931 g
Dimensions: Height 44 cm

Expert's note: It is rare to find a cloisonné enamel gu vase decorated with the bajixiang motif, and the current vessel is likely to have been part of a set placed in a Buddhist temple within an important palace, possibly the Forbidden City. The matching pair to the present vase, most probably coming from the same altar set, was sold at Christie's in 2016 (see auction result comparison), and it is our sincere hope that the winning bidder of the present lot will be able to reunite the pair.

Literature comparison: A number of cloisonné vessels of other forms with this Buddhist decoration have been published, including the alms bowls and plates illustrated in Compendium of Collections in the Palace Museum - Enamels (2) - Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, pls. 260-261, 287-289. Compare also a censer, similarly decorated with the bajixiang borne on lotus blooms and archaic scrolls as on the present vase, dated to the early 18th century and illustrated by C. Brown in Chinese Cloisonné - The Clague Collection, Phoenix Art Museum, 1980, pl. 43.

Auction result comparison:
Type: Matching pair
Auction: Christie's Hong Kong, 1 June 2016, lot 3402
Price: HKD 1,840,000 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing
Description: A rare large cloisonne enamel 'bajixiang' vase, gu, Qianlong period
Expert remark: Note that this vase and the present lot most likely once were part of the very same altar set.


奧地利重要私人收藏,二十世紀上半葉進入收藏,在同一家族保存至今。1992年12月9日維也納Dorotheum, lot 229;維也納私人收藏購於上述拍賣。底部可見Dorotheum 編號標籤。

重量:2,931 克
尺寸:高44 厘米

以八吉祥為裝飾的掐絲琺瑯觚瓶十分少見,而這件觚瓶很可能曾放置在重要宮殿(可能是紫禁城)內的一座佛堂中。 此瓶曾爲一對,另一個於 2016年 年在佳士得拍賣(見拍賣結果比較),我們真誠地希望本拍品有朝一日能重聚。

文獻比較:一些具有佛教裝飾的景泰藍器皿已經出版,包括《故宮博物院藏品大系—琺瑯彩2—清掐絲琺瑯(1644-1911)》中的碗和盤,北京,2011年,圖260-261和287-289。與此相比,還有一件18世紀初香爐也有類似的裝飾,飾有蓮花和古卷,見C. Brown,《Chinese Cloisonné - The Clague Collection》,Phoenix Art Museum,1980年,圖43。

拍賣:香港佳士得,2016年6月1日,lot 3402
價格:HKD 1,840,000(相當於今日EUR 247,000)

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Estimate 20 000 - 40 000 EUR
Starting price 20000 EUR

* Not including buyer’s premium.
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Sale fees: 30 %
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For sale on Thursday 29 Sep - 13:00 (CEST)
vienna, Austria
Galerie Zacke
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A FAMILLE ROSE 'BUTTERFLY AND FLOWERS' SAUCER DISH, YONGZHENG MARK AND PERIODOpinion: It has become exceedingly difficult to find 18th century 'boneless' wares in a good state of preservation, regardless of form or size. But being able to offer such a large dish, with such a finely painted Yongzheng mark, and from the period, with such vibrant colors, and in such pristine condition overall, just feels like a once-in-a-lifetime event!China, 1723-1735. Delicately potted, the shallow rounded sides rising from a straight and high foot to a gently everted rim. The interior finely painted in 'boneless style' with bright enamels to depict a butterfly fluttering amid leafy and flowering stems of chrysanthemum and peony with two still-closed buds. The recessed base with an underglaze-blue six-character mark da Qing Yongzheng nianzhi within a double circle and of the period.Provenance: A Scottish private collection. Condition: Magnificent condition commensurate with age. Only minor old wear and tiny firing irregularities. The foot rim with two minor nicks. A Yongzheng-era porcelain dish in such well-preserved condition must be considered extremely rare.Weight: 256.9 gDimensions: Diameter 19.8 cmThe combination of flowers and butterflies to decorate Chinese porcelain can be seen from as early as the Ming dynasty's Yongle reign, when it was used on blue and white wares, such as the pear-shaped vase in the Sir Percival David collection, British Museum, London, illustrated by R. Scott, Elegant Form and Harmonious Decoration: Four Dynasties of Jingdezhen Porcelain, London, 1992, p. 38, no. 25. The combination of butterflies and flower sprays painted in overglaze enamels on porcelain, however, became particularly popular at the Imperial Court during the Yongzheng reign, following the development of the famille rose palette of enamel colors, see a famille rose bowl, Yongzheng mark and period, decorated with roundels enclosing butterflies and flowers, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, vol. 39, Hong Kong, 1999, pp. 78-9, no.68.This bowl is an early example of the new confidence among painters during the reign of Yongzheng to increasingly handle areas of multiple color without using formal borders for separation. This technique is known as 'boneless style', because there virtually is no inner skeleton to the design. In the present lot for example, the pink and white colors of the large peony flower are not separated by any lines. This technique was not widely used, most likely because it was too difficult to implement on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.The fluttering butterfly depicted on this dish emphasizes the fragile, shimmering beauty of the wings. Designs of butterflies suggest duplication of an auspicious wish, since the character for butterfly is a homophone for 'repeat'. It also is a homophone with 'die' meaning 'Over seventy or eighty years of age', and thus expresses a wish for longevity. Butterflies also symbolize happiness in marriage and everlasting romantic love. The latter interpretation is due to a number of traditional Chinese stories in which butterflies play a significant part. Feng Menglong (1574-1646), for example, narrates the popular story of the 'butterfly lovers' Liang Shanbo and Zhu Yingtai, who are transformed into butterflies after death. The philosopher Zhuangzi's famous dream of being a butterfly also made them symbols of the boundary between dream and reality.Literature comparison: Compare a related famille rose saucer dish with butterflies and peonies, also with a Yongzheng mark and of the period, 29.7 cm diameter, exhibited by the Oriental Ceramic Society at Bonhams London, Reginald and Lena Palmer, their Collection, and the Oriental Ceramic Society, 1921-1970, 27 October 2021.Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.由于Drouot平台拍品叙述的长度限制,我们移除了中文叙述,完整中文叙述请至www.zacke.at查看。

A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musée Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark._x000D_ 光緒款及年代粉彩百鹿尊中國,1875-1908年。圓口,垂腹,圈足。通體施白釉,肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成,施彩濃厚;群鹿、枝幹以赭、黑等彩作畫,群鹿活現,枝幹蒼勁,筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋:十九世紀的粉彩百鹿尊雖然經常出現,但大多都是杜撰乾隆款。此拍品琺瑯精美,鹿首耳,極爲稀有。 來源:歐洲私人舊藏,購於1965年,保存到現任藏家。 品相:品相極好,有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則,足部上方有一條冲線(約 14 厘米長),可能是燒製過程中產生的。 重量:10.3 公斤 尺寸:高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史,鹿是長壽的仙獸,自然也受到歷代帝王的青睞,這在皇宮常見的百鹿尊上可見一斑。 文獻比較: 一件尺寸非常相近乾隆時期的花瓶(45 厘米),收藏於北京故宮博物院,見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》,香港,1999年,圖85。其他例子包括上海博物館的一對花瓶,見《胡惠春先生,王華雲女士捐贈瓷器精品選》,上海,1989年,頁67;另一件收藏於南京博物院,見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》,1995年,編號86;還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏,見《Oriental Ceramics, The World's Great Collections》,東京,1981,卷7,頁190。 拍賣結果比較: 形制:非常相近 拍賣:紐約佳士得,2018年3月23日,lot 834 價格:USD 47,500(相當於今日EUR 52,500) 描述:光緒款及年代粉彩百鹿尊 專家評論:比較幾乎相同外型和裝飾。請注意尺寸較小 (37.4 厘米),以及罕見的底部光緒款識。

A LARGE AND MASSIVE 'COSMIC EGG', BRAHMANDA, INDIA, 19TH CENTURYThe stone of typical ovoid form and finely polished with distinct natural markings in blood-red and creamy-white, interspersed with small round specks of natural russet color.Provenance: From a private collection in southern Germany, mostly assembled between the 1960s and 1980s, and thence by descent to the last owner. Condition: Very good condition with old wear and weathering as expected, few light nicks and scratches, natural fissures. The base with extensive wear, minor losses and natural age cracks. Dimensions: Height 37 cm (excl. stand), 49 cm (incl. stand)With a rare, matching wood stand dating from the same period, finely carved and painted. (2)Cosmic eggs are so called because in the Hindu religion they symbolize the union between heaven and earth. These natural stones were collected from the Narmada river in ancient times and it is believed that a meteorite colored the stone on its impact with the earth. The natural markings on the egg-shaped form symbolize the male and female principles in a single unit, a realization of the wholeness of the entire universe.Literature comparison: For a related brahmanda, see A. Mookerjee, Yoga Art, 1975, pl 39, p.71.Auction result comparison:Type: Closely relatedAuction: Galerie Zacke Vienna, 6 March 2021, lot 748Price: EUR 16,432 or approx. EUR 18,500 adjusted for inflation at the time of writingDescription: An Indian stone Brahmanda, 'cosmic egg', and matching bronze tripod standExpert remark: Compare the form and markings. Note the size (23 cm).