The arched belthook terminating with the head of a goat with a pair of incurving horns in relief.
L: 13 cm

Of circular form, finely carved both on the cover and base with a large peony blossom surrounded by leaves and buds, the interior and the base lacquered black.
D: 4 cm

The cup has a body of globular form standing on a flared foot, finely enameled in cobalt blue on the body with centralized dianthus borne of a leafy undulating stem, below double bands at the rim. The base of the cup and the flaring foot are decorated with frieze of florets, undulating scrolls and lappets on the three registers, the footring left unglazed.
D: 21.5 cm

The deep, thinly potted sides rising to a slightly everted rim, delicately painted on the exteriors with narcissus growing amidst rockwork, with trailing spring blossoms on a grassy field.
H: 5 cm

The cup is of irregular shape naturalistically carved in high relief in simulation of a section of a pine trunk, detailed with nodules imitating tree bark and carved in openwork with growing pine on extended gnarled branches, the well-hollowed interior of the cup left plain.
L: 11.6 cm

Of pebble form finely worked with foliate tendrils issuing flowering blossoms, the reverse with inscriptions reading Xiang Yuan Yi Qing TingTing Jing Zhi, the stone of an even celadon tone with creamy white veining and russet inclusions, skillfully utilize to extenuate the leafy sprigs on the base.
L: 6 cm

Worked in the form of a lady dressed in loose robes standing with her legs crossed, a playful monkey clambering on her shoulder, the stone of an even celadon tone.
L: 5.3 cm

Finely carved to the form of a double gourd decorated on the exterior with further leafy tendrils issuing from the stem, borne with additional double gourd, the interior well-hollowed.
L: 13.8 cm

Of compressed bulbous form supported on three tripod conical feet, flanked by two upright loop handles rising from the mouth rim, the base with a six character reign mark within a rectangular cartouche.
D: 10 cm

Of rectangular box secured with a circular two-part lock plate and cloud-form hasp to the front, adorned with further metal attachments with keyfret ends protecting the corners and sides of the box, flanked by a pair of gilded rectangular handles on the narrow sides.
L: 35.7 cm

The ferocious figure cast seated in dhyanasana on a lotus base, wearing a dhoti and elaborate jewelry across his shoulders holding an attribute in each hand, surmounted by a five panel crown.
H: 10.9 cm

Modeled standing upon a lotus pedestal with the central hands held together in Anjali mudra, the gesture of respectful salutation, with nine faces of the Avalokitesvara arranged in three tiers, the heads decreasing in size as it raises to the upper tiers, each serene face incised with a raised urna in between the elongated earlobes, dressed in a flowing dhoti decorated with a foliate trim, further festooned with an intricate network of elaborate beaded jewelries.
H: 36 cm

The rotund deity modeled with a broad smiling face flamed by a pair of elongated ears below a six panels crown, seated with his left leg bend horizontally and the right leg drawn up where his hand rests upon holding an eighteen beads rosary, dressed in a loose flowing robe wrapped around the shoulder exposing his protruding belly.
H: 33 cm

The central saucer of square form finely worked with floral sprigs on the sides, the other eight radiating compartmental saucers of triangular form similarly decorated on the sides, assembled together forming a square dish of nine sections with indented corner, the stone of a soft celadon tone, inscribed with a four character studio mark within a square.
L: 19 cm

Of bulbous form rising to a protruding compressed disc on the neck below the wine cup-shaped mouth, the body decorated with a continuous scene of ladies watching over their playful sons, further accompanied by female attendants, one holding a basin and another holding a bundle amidst pierced garden rockworks below a band of floral motifs set in between two bands of double lines, the neck encircled with a band of lappets and further leafy scrolls below the mouth rim.
H: 19 cm

The gilt bronze Vajra with eight prongs on either side frieze with lotus petals with a baluster form handle in the center, the Ghanta with gilt handle cast with a figure with its feature finely incised, wearing a eight prongs domed-shaped crown encircled with a band of teardrop panels rendered in openwork, the bell body cast in relief with a frieze of ferocious masks suspending pendent beaded jewel strands, set in between a band of lappet and a band of vajra motifs.
H: 23.5 cm (Ghanta), L: 16.7 cm (Vajra)

Of compressed lobed melon form moulded with a pair of fruiting melons on leafy sprigs at the rim, covered overall in an attractive mottled turquoise glaze, stopping short on the flattened base, the silver reticulated cover decorated with further foliate and leafy motifs in openwork.
D: 12.5 cm

Each of meiping form with wide shoulders below the gently flaredl neck on one side and flattened on the other, covered all over in a glaze of a pale bluish-green celadon glaze, the recessed base enameled with the four character reign mark.
H: 15 cm

Of foliate form resting on a recessed foot below the everted rim, finely decorated on the interior with a pair of dragons in pursuit of a flaming pearl amidst stylized clouds in the well, the sides and everted rim similarly decorated with alternating dragons in enamels of red and blue, the biscuit base inscribed with the six character reign mark in cobalt blue within double circles. Compare with a box with a very similar decorative motif, illustrated in Selected Treasures of Chinese Art. Min Chiu Society, Hong Kong Museum of Art, Hong Kong, pl. 148, pp.326-327.
D: 40 cm

The rounded sides exquisitely decorated with a continuous scene of a long tailed cockerel, hen and chicks in a garden setting and divided by sprays of flowering peony and asters growing from pierced rockworks amidst plantain leaves, the interior with a central medallion enclosing a further cockerel and hen perched upon pierced rockworks amidst peony blooms and flowering asters next to further plantain leaves, all set in between double bands encircling the mouth rim and the straight foot, the base with a six character reign mark within a double circle cartouche.
D: 15 cm

Of compressed baluster form, encircled by bands and interlocking ruyi below the waisted neck in relief, the bottom worked with further keyfrets motifs with a protruding tip on the narrow sides, flanked by foliate handles in openwork, the domed cover incised with lappets surmounted by a compressed circular knob.
H: 17.1 cm

Finely worked as a large hollowed lotus leaf and one smaller bud borne on a leafy, budding stem that forms the base, the translucent, well-polished stone of white tone with russet inclusions.
L: 9 cm

Well carved as an buffalo with its head turned backwards below curved horns of his mount, lying with forelegs tucked underneath and its tail curled, the hooves carved in relief on the underside, the yellow stone of with russet inclusions.
L: 7 cm

Finely carved around the cylindrical body in relief with a group of ladies seated on low back armchairs and reticulated stools around a four-legged square table engaging in a leisurely game with two attendants nearby, all supported on three protruding foot.
D: 16.5 cm

The brush pot is of cylindrical form with a frieze below the mouth rim, the sides carved with a continuous scene of egrets perching upon an intricate network of gnarled branches and flowering prunus, all set in between a band of spiral motif below the mouth rim and the foot resembling protruding rockworks.
D: 16.4 cm

The rosary, shou chuan composes with eighteen aloeswood beads, one end with a double-gourd form, the matching box in the shape of a qin, finely incised with bamboo leaves and Daichunlin on the cover.
L: 16.5 cm, D: 10 cm (Aloeswood Rosary)

Of compressed globular form rising to an everted mouthrim above the waisted neck, the plain body raised on three stumpy foot, the base with the six character reign mark within a square catouche.
D: 11.8 cm

Of compressed form with a waisted neck flanked by a pair of angular looped ring handles, all supported on three conical foot, the base with the six character reign mark within a square catouche.
D: 15 cm

Of bulbous form rising to a sligthy everted mouth rim from the circular base, flanked by a pair of ferocious lion heads handles in relief, inscribed with the four characters Yong cub zhen wan within a square cartouche.
D: 12.5 cm

The square surface raised on four columnar feet with an incurving end, decorated on the apron with four panels of foliate scrolls rendered in openwork below the slightly waisted sides.
H: 5 cm

The bulbous body resting on a circular footring below the elongated neck rising to a flared mouthrim, the body decorated with colorful butterflies flying amidst flowering sprigs and florets, the base with the six character reign mark.
H: 40 cm

Of meiping form resting on a flattened foot, enameled on the body to the continuous scene of a red-crested crane perching upon rockworks with its head tiled up looking towards the boundless sky with its beak gently open, amidst grassy sprigs and a pine tree, further cranes of smaller scale depicted on the other side, perching upon rockworks with lingzhi outcrops emerging for misty clouds below inscriptions on the shoulder.
H: 28.5 cm

Of cylindrical form rising to a elongated neck below the everted mouthrim, finely enameled on the tubular body with a continuous scene of a two figures sailing on a sampan on the quiet misty lake across from the shore with further rockworks and a pavilion under the shade of the luscious pine tree and other fruiting branches amidst a mountainous landscape in the distance, all set in between a band of keyfrets on the straight footrim and ruyi heads with further circular bosses oencircling the neck with further scrollwork below the everted mouth.
H: 13.5 cm

Worked to the form of a chilong with a pair of upright ears feasting on a succulent fruit with a foliate stem issuing further leafy sprigs.
L: 5.2 cm

Skillfully worked to the from of a simplified butterfly, its spreading wings rendered in openwork enclosing a pair of rotatable smiling figures, the well-polished stone of an even celadon tone.
L: 5.5 cm

Naturalistically worked to the form of an elegant stem issuing blossoming flower with two buds emerging from behind, the stone with strikes of light russet inclusions.
L: 6 cm

The compressed bulbous vessel supported on a short splayed foot, the handle well carved in the form of a circular ring, the translucent stone of even pale celadon tone.
L: 14 cm

The graceful deity modeled standing with her hair tied in a topknot, dressed in a loose robe with long sleeves falling in neat folds, holding a gnarled stalk of lingzhi in both of her hands, next to a deer with its head gently tilted in the direction of the deity, one of its knee gently bent, the stone mottled with spinach green and russet inclusions.
H: 22.7 cm

The cup rising to a gently flared sides below the straight footrim, flanked by a pair of delicate ruyi sprig handles rendered in openwork, the body further incised with a continuous flowering blossoms borne on leafy tendrils, the foliate shaped dish with a circular recessed indentation in the center intended for placement of the cup, the surface decorated with various blossoming flowers and buds issuing from leafy tendrils, the rim encircled with a band of keyfrets, the stone with further light russet inclusions.
D: 19 cm (plate), D: 10 cm (cap)

The bulbous ewer finely worked in fluted forms on the exterior, with an upright spout and a looped handle issuing from a goats head with a pair of downward curving horns with a suspending ring, the domed cover terminating below a flower-form finial.
L: 17.5 cm

The bowl is potted with deep curved sides rising to a straight foot rim, enameled in vibrant tones with four roundels containing various scholar’s objects including auspicious vases filled with flowers and ears of grain, lanterns and auspicious fruits, all reserved on a yellow ground with fruiting double gourds and flowering vines below a band of keyfrets, the interior with a medallion enclosing a phoenix and a dragon in pursuits of a flaming pearl amidst stylized clouds, the base with the six character reign mark.
D: 19.5 cm

Well potted with a elongated neck, finely painted on the body in rich tones of underglazed blue with a continuous scene of a striding five-clawed dragon in full flight above turbulent waves amidst stylized clouds and classic scrolls, all set in between a band of keyfrets encircling the straight footrim and a double band beneath the mouth.
H: 46 cm

Finely potted with shallow sides rising from a slightly tapered foot ring, well painted in an even cobalt blue on the interior with a bouquet of lotus blossoms, buds and leaves secured with a ribbon at the stem enclosed within double line border on the well, surrounded by a band of subsidiary composite flowers and mallow blossoms borne on leafy vines on the side below another band of foliate scrolls beneath the rim, the exterior similarly decorated with a further frieze of lotus scrolls above a band of keyfrets, the biscuit rim unglazed.
D: 35.5 cm

Of baluster form resting on a gently sprayed foot below the flared everted rim, decorated on the body with an archaistic taotie on a central flange against a leiwan ground above a band of lappets on the upper register, flanked by a pair of looped handles issuing from animal heads, further adorned with anther raised band encircling the foot, mottled with splashes of gold all over.
H: 27.5 cm

The well-modeled Taibai dressed in a loose robe with a double guard vessel tied to his waist, looking in the direction of his bare footed companion in an ensemble made of leaves with his protruding belly exposed.
H: 20.5 cm

Of compressed bulbous form resting on a flattened circular base, flanked by loop handles on the waisted neck rising to a gently flared rim extending to the patinated interior, the plain body extends to a patinated interior, the reticulated cover decorated with four five-clawed writhing scaly dragon in full flight amidst dense swirling clouds rendered in openwork, encircled with a band of the eight emblems against a ground of keyfrets on the outer rim, surmounted by a jade finial exquisitely worked to the scene of egrets perch next to an blossoming lotus with its head gently lifted up in a graceful posture, the base with the six character reign mark within a slightly sunken square cartouche.
D: 25.4 cm

Each with bands of sawtooth patterns on the outer rim and ridges on the outer fields, further encircled by simplistic animals on the inner field below the central knob, the other of circular form similarly decorated.
D: 7.5 cm, D: 6.8 cm

Seated in padmasana with a meditative expression wearing layered robes falling in neat folds around the extremities exposing one of his feet, his hands in mudra in reference to the turning the wheel of Dharma.
H: 11.5 cm

Seated on a rectangular pedestal delicately holding a newborn in her warm embrace, the face crowned by an elaborate diadem, dressed in a long sleeve robe falling in neat folds finely incised with a brocade rim.
H: 11 cm

Modelled standing gracefully on a lotus pedestal in a tribhanga pose, the left hand grasping onto lotus stems blossoming at the shoulder, adorned with an elaborate diadem below the circular earrings, festooned across the body with beaded necklaces and foliate armlets, wearing a draped flowing dhoti .
H: 13 cm

Of rectangular form, finely carved in openwork with the scene of a scaly qilin with its head turned backwards amidst a pine garden with blossoming peony, secured with a metal mount on the side and further mountings on the sides.
L: 22.5 cm

The central support formed from a rectangular lattice frame with a protruding top bar carved with stylized scrolls on each end, supported on a hinged back support securing the position of the stand.
H: 44.5 cm

Finely decorated on the lobed bulbous body with flowering begonia and intricate foliage and scroll work below a band of lappets, flanked by a pair of foliate gilded handles on the straight mouthrim incise with a band of keyfrets, all supported on three animal masks stumpy foot, the cover decorated with a reticulated section, surmounted by a floral finial.
H: 13.5 cm

Worked in the form of a monkey holding a fruiting branch of peaches on his shoulder, the features of the monkey finely worked in relief with a wrinkle rendered as a series of recesses on the forehead.
H: 5.5 cm

Well potted of double section rising from a square base, the cuboid lower globe transform at the waist to a spherical upper globe, covered in a finely-mottled glaze of rich turquoise of robin egg’s tone continuing slightly over the interior of the mouth rim and pooling to a deeper turquoise in the carved recesses to accentuate the design. The six character reign mark inscribed on the base.
H: 30 cm

Of cylindrical form raised on three low feet, decorated on the exterior with a light turquoise glaze over a continuous meandering leafy foliate motif around the exterior of the body. the interior similarly decorated with turquoise glaze.
D: 25.5 cm

The rotund deity modeled with an affectionate laugh flamed by a pair of elongated earlobes, leaning against a rockwork inscribed on the back with the artist’s name, his right leg bend horizontally and the left leg drawn up where his hand rests upon holding a long beaded rosary, dressed in a loose flowing robe wrapped around the shoulder exposing his protruding belly.
H: 11 cm

Each cast in a seated position on all fours with its hooved feet tucked underneath, its head slightly lifted turning to one side with its mouth slightly open exposing its sharp incisors above the beard, framed by a pair of horns above spiky triangular flanges on its scaly back extending to an upturn tail.
L: 56 cm

Sturdily potted in anarchistic form of a square section rising to a slightly incurving circular mouth, moulded in relief with the Bagua , the Eight Daoist Trigrams on each rectangular side, all under a thick blue glaze, the base with a six character reign mark.
H: 29 cm

The palette is well formed in the form of a shell, decorated with minute raised bosses in simulation of the texture of the shell, covered in pale blue glaze with misty red strikes on the interior of the well, the base inscribed with the six character reign mark.
L: 8.8 cm

Of compressed form with a raise band encircling the bulbous mid-section, flanked by a pair of loop handles simulating the texture of a twisted rope on the mouth rim, the base of the foot respectively inscribed with Gan Qing and Gong and inscribed with the six character reign mark.
D: 8.3 cm

Of rectangular form finely depicting three rams amidst a luscious garden with outcrops issuing flowering peonies and lingzi sprigs on a grassy field below a flittering butterfly in near proximity in brilliant tones of cloisonne enamels, all reserved against a bright turquoise ground, the base incised with the a six character reign mark within a rectangular panel.
L: 10.5 cm

Of circular form with gilded metal surrounding the edges, the cover enameled with a pair of succulent pomegranate one of which bearing seeds borne on meandering leafy scrolls and blossoming flowers in brilliant tones of cloisonne enamels, the bottle with a gilded six character reign mark enclosed within a rectangular panel frieze by interlocking ruyi heads amidst further foliate scrolls, all reserve against a vibrant turquoise ground.
For a similar cloisonne enamel box measuring 3.9cm, sold at Sotheby’s Hong Kong, 8 October 2010, lot 2713.
D: 8.3 cm

A blue ground robe exquisitely woven with golden dragons above turbulent waves and three protruding mountains amidst the eight auspicious emblems and flittering bats, all reserve against stylized clouds and classic scrolls.
L: 140 cm x W: 190 cm

The bowl potted with rounded sides rising from a straight footring, decorated on the exterior with meandering leafy scrolls bearing flowering blossoms in between freezes of double bands, the interior with double bands below the mouth rim and a medallion enclosing a stylized lotus amidst further leafy sprigs.
D: 14.5 cm

The heavily cast vase is separated into four registers, the main body decorated to either side with a pair of confronting five-clawed writhing dragons in pursuit of the flaming pearl amidst swirling clouds. The other registers on the shoulders are similarly decorated each containing a further pair of dragons in the pursuit of flaming pearls with the exception of a band of pendant ruyi heads above raised bosses and c-scrolls in between a set of archaistic dragon handles suspending oval rings. The foot encircled with a band of lappets above the six character reign mark cast within a rectangular cartouche.
H: 48 cm

Carved through the red overlay with oval panels of flower sprays issuing from rockwork, the neck encircled with further panels with flowering blossoms, all against a ground of undulating foliage scrolls. Compare with a very similar snowflake white vase with red overlay, illustrated in Selected Treasures of Chinese Art. Min Chiu Society , Hong Kong Museum of Art, Hong Kong, pl. 224, pp.460-461.
H: 27.6 cm

Cast seated in padmasana, the whorl pattern hair framing the downcast eyes and slightly puckered lips in a serene expression with a raised urna, dressed in a loose flowing robes with a finely executed brocade border opening at the chest, inscribed with Da qing Qianlong nian jing zao within a rectangular panel above the lotus pedestal.
H: 20 cm

The Wheel with eight spokes enameled with the eight auspicious emblems and alternating semi-precious stone centered by a lion circular medallion, the border enameled with interlinking scrollwork interrupted by eight nodes inlay with gems along the outer edges, raised on a lotus base, the bottom enameled with Daoguang Nian Zhi (made in the year of Daoguang) within a circular roundel and further formalized lotus scrolls. The eight Buddhist emblems include the Buddhist wheel, conch, umbrella, canopy, lotus bloom, fish and entrails. It is generally believed to have originated from the introduction of Buddhism in China. Historically, the Lun or wheel is reminiscent of the wheel of the law, a symbol of the Buddhist doctrine leading to perfection. It is commonly depicted as a whirling sphere. The present lot of a fine cloisonne enamel Buddhist wheel thus symbolizes perfection and endless rotation.
H: 31 cm

The plain bi of greyish green with cloudy creamy white and strikes of russet inclusion, mounted in a square zitan frame carved with four in circular motif in the four cardinal directions, the bi secured by a central plug carved with the trigrams qian of Qianlong, the reverse inscribed with a gilt poem within the rectangular panel, the frame fitting into a stand carved with archaistic scrollwork and raised bosses above a central taotie mask set in between further archaistic scrolls on the apron, resting on a slightly slanted feet, the material of even dark colour with characteristic graining.
H: 33.2 cm

Worked with round sides and a slightly flared rim, supported on a circular footring, the stone of an even color with veining of dark brown inclusions, the base with four character reign mark.
D: 17 cm

Worked to the form of two perched lions next to reticulated rock rocks, the parent lion pouncing on a brocade ball tied with ribbons next to its youngster pulling onto a leafy sprig bearing a pair of succulent peaches, the stone mottle with strikes and veining of darkest brown inclusions.
L: 24 cm

Of irregular shape with rounded peaks of varying heights in simulation of a mountain range with contours intended as a brush rest, further decorated on the sides with rocky outcrops, gnarled pine trees and lingzhi growing under the rounded sun emerging from misty clouds, the well polished stone of an even milky white tone.
L: 22.8 cm

Finely modeled in the form of a standing figure of a female immortal, dressed in a voluminous robe falling in neat folds, holding in her right hand a fruiting branch extending to three luscious peaches on her back, the other hand with a lubed straw basket overflowing with lingzhi sprigs, the stone of an even pale celadon tone. The present lot depicts Magu on her way to attend the banquet of the Queen Mother of the West holding a basket filled with lingzhi.
H: 16 cm

Finely long-bearded figure finely modeled standing in contemplation, dressed in a scholar's hat inlaid with an oval stone and loose robe falling in elegant folds, his left hand emerges from the long sleeve holding onto the rims of his belt.
H: 14.5 cm

Each bowl has rounded sides rising from a slightly concave foot, decorated to the interior with three delicate goldfishes with its tail swaying against a luminous white ground, the exterior enameled blue below the gilt mouthrim, the based enamel in cobalt blue with the four character reign mark within double squares cartouche.
D: 8 cm

The ovoid body rising to a gently flared neck above the straight footrim, intricately enameled on the body with the alternating auspicious character Ji and blossoming stylised lotus in between a gilt Buddhist swastika symbol and a ruyi suspending a pendant tassel, amidst a dense foliate lotus scrolls, all set in between stiff lappets at the foot and an alternating band of ruyi heads and auspicious bats at the shoulder, the neck similarly decorated below another band of ruyi heads on the rim, the base inscribed with four characters vertically in iron red.
H: 33.5 cm

Of flattened circular form rising from a waisted foot above the waisted neck extending to a garlic-shaped mouth, flanked by a pair of arched strap handles that terminate on the narrow sides on the neck, the body with an intricate network of foliate scrolls in underglazed red, the sides with further meandering veins bearing flowering blossoms, the base inscribed with the six character reign mark.
H: 18 cm

Thinly potted with rounded sides resting on a slightly recessed base, the exterior of the sides delicately enameled in pale underglazed blue and characteristic enamels of soft tone with a continuous scenes of a black-tailed cockerel looking in the direction of a hen surrounded by chicks, all amidst garden rocks with outcrops of vibrant camellias and lilies in delicate enamels of yellow, red, blue, and green, set in between line borders in underglazed blue, the base with a six character reign mark. The cup is thinly potted out of fine white paste while the transparent glaze is more apparent on the base. Since the reign of Wanli, the chicken cup had been regarded as the paradigms of the finest Chenghua porcelain. According to Gu Yingtai in Bowu Yaolan, there was a record that Emperor Wanli once owned a pair of such chicken cups adorned with roosters, hens and chicks, the emperor set a precedent and purchased them a hundred thousand dollars. Due to its great prevalence, the design of the chicken cup was reproduced in subsequent reigns as epitomizes by the present lot. The Emperor of Yongzheng would send samples of the originals from the Palace collection so that reproductions could be manufactured with their own reign mark. The size and the composition of the present lot resembles the qualities of a sophisticated composition of a Chenghua piece with the exception of the utilization of black on the tail of the cockerel. According to according to the Jijiu pian, the origin of such delicate composition may have been derived from the spring scene of cockerel with their tails tilted up as they embrace the warm spring and also from paintings of a hen in search of food with the company of her chicks, as observed from the National Palace museum’s collection of Qing paintings. Chicken cups are coveted by connoisseurs and Museums worldwide and are known to exist in numerous public collections such as in the Beijing Palace Museum, the Taipei National Palace Museum, the Baur Collection in Geneva, the Metropolitan Museum in New York, the Victoria and Albert Museum, the Percival David foundation in London among other distinguished private collections. Compare with two pairs of Chicken cups dated to the same reign as the present lot, a finished Yongzheng doucai pair contrasts with an unfinished pair where the entire design is finely delineated in a soft underglazed blue, illustrated in Qing Imperial Porcelain, The Chinese University of Hong Kong, Hong Kong, 1995, pl.60 and another Yongzheng creation illustrated in Selected Treasures of Chinese Art. Min Chiu Society, pl.165, pp.360-361. Courtesy of the National Palace Museum, Taipei. See also another doucai style chicken cup dated to later reign, illustrated in The Museum of East Asian Art Bath England. Inaugural Exhibition, Vol.1, pl. 189, p.240 and another illustrated in Ho Wing Meng, The Emperor’s lost treasure. Remnants of unrecorded. Remnants of unrecorded Chenghua porcelain, 2004, pl. 2 and 3. Compare also with another Chicken cup illustrated in Imperial porcelain of the Chenghua reign excavated from Zhushan. Jingdezhen, pl. C55, pp.198-199. See also a doucai chicken cup exhibiting a similar decorative design sold at Sotheby’s Hong Kong, 1 November 1974, lot 256.
D: 8 cm

The heavily constructed baluster vase supported on a spreading foot with a straight footrim, flanked by mythical beasts handles suspending a ring on the neck, the body worked with archaistic scrolls and motifs, the polished stone is of a pale green tone mottled with white and russet inclusions.
H: 26.5 cm

The bowl has deep rounded sides flaring slightly at the rim, supported on a short circular footring. the stone of a dark green tone with darker speckles.
D: 18.8 cm

Seated with her legs folded in padmasana on a double lotus base, her right hand in vajrapradama with lotus blooming on either sides of her shoulders, the serene face of radiate opulence frame by a crown of five jeweled plaques below a network of elaborate jewelries festooned across her torso, wearing a dhoti of flowing rhythmic elegance embossed with rich foliate designs visible from the reverse.
H: 39.5 cm

Seated on a lotus base in padmasana with both hands held together in Anjali mudra, the gesture of respectful salutation, the serene face incised with an urna, crowned with an elaborate diadem before a high topknot, festooned across the chest with an intricate network of beaded jewelry, further detailed with florets armlets.
H: 13.5 cm

Exquisitely modeled with a serene benevolent expression with a lowered gaze, the eyes and eyebrows painted in blacked, with four-arms seated on a lotus base in padmasana with his primary hands held together in namaskar mudra, the secondary hands are brought up to shoulder height in karana mudra, dressed in a flowing robe gathered in pleated folds at the front, with further loose scarves draped over the principle arms, further adorned with jewelry festooned across the bare torso, earrings, bracelets, armlets and anklets, the serene face crowned with an elaborate multi-pointed diadem centered with an image of Amitabha in relief before a high topknot surmounted by a gold-lacquered sphere and falling in thin curled plaits over the shoulders, the gold lacquer covering the piece shows a warm reddish tone from the underlying of cinnabar red lacquer with further sutras in the interior. The dating of the present lot is consistent with the result of a carbon 14 analysis from the Laboratory of Ion Beam Physics. Zurich.
H: 57 cm

Modelled standing with hands in abhaya and varadamudra, the serene face framed by elongated earlobes with hair pulled back over the prominent ushnisha, dressed in a flowing pleated robe finely incised with a foliate motif at the hem and collar, all supported on a waisted square pedestal.
H: 16 cm

Of circular form finely carves with three flowering peonies amidst leafy sprigs on the cover in high relief, sides with leafy scrolls bearing further blossoms the interior and base lacquered black.
D: 10.2 cm

Exquisitely worked to the form of a folded lotus leaf, the exterior with additional conglomeration of lotus blossoms and leafy tendrils issuing from a curved undercut stems forming a root. The lotus is indigenous to ancient China and the present lot skillfully render the flower and its various component, including its petals and stems, unopened, Zhou Dunyi (1017-1073 CE), the writer of a well-known essay about lotus, referred to the elegant plant as ‘the flower of purity and integrity’ since it emerges from mud but the beautiful form of the lotus remain unstained while it grows. Compare with a very similar vessel worked in the form of an elegant lotus leaf from the Palace Museum in Beijing, illustrated in The complete collection of treasures of the Palace Museum, Jadeware II, Shanghai, 2008, no.187, p.226.
L: 24 cm

Well carved as an elephant standing on its four stumpy foot with its head turned backwards and tail curled, wearing an elaborate tasseled saddle blanket finely carved in relief with auspicious bats amidst stylized clouds, a boy clambering its back holding a lingzhi sprig in his hand with which he uses to direct the elephant, another smiling boy emerges from the back grasping onto a leafy stalk, the stone of good pale green colour with areas of russet inclusions.
H:7 cm

Of octagonal form, carved in low relief on two sides with a shou character framed by archaistic dragons above a band of pendent leaf tips on the neck interrupted by ruyi-sprig handles, the matching cover surmounted by a knop finial, with opaque white mottling throughout and some areas of added russet coloring.
H: 26.4 cm

Superbly carved with the recumbent beast pouncing on a ribbon tied brocade ball with a recumbent young lion on its back, their bodies facing in the same directions, both with bulging eyes and flared nose above the slightly agape mouth exposing four sharp incisors.
L: 18 cm

The columnar seal is of square section, surmounted by a recumbent mythical beast with a pair upright ears above the bulging eyes and flared nose, the base plain, the yellow stone with strikes of dark brown and russet inclusions.
L: 4.5 cm

Worked to the form of two catfishes opposite each other with a sprig of lingzhi in mouth, the scales on its tail finely incised on the underside, the well-polished stone with veining of russet inclusions.
L: 5.8 cm

The standing deity dressed in a loose robe falling in neat folds, finely incised with a shou medallion on the shoulders and a foliate brocade rim ending in pointy ends, one hand hidden under the folded long sleeve, the other grasping onto a succulent peach, the stone of a vibrant green with minute yellowish and cloudy white inclusions.
H: 32.5 cm

Finely modeled in a playful posture with one leg in front of the other, dressed in loose garment tied with a loose ribbon in the front, one of his hands lifted carrying a brocade ball over on his shoulder.
L: 5.5 cm

The rectangular potted lingzhi delicately emerging from gilded stems issuing eight auspicious lingzhi heads, finely embellished with various enamels simulating the gradations of its texture in its natural state.
H: 47 cm

The brazier raised on three gilt-bronze elephant-head supports caparisoned in jeweled garlands, the sides decorated in enamel with stylized lotus and scrolls against a turquoise ground, encircled by a band of ruyi below the wide everted rim finely decorated with leiwan patterns, the domed cover with three large stylized lotus and scrolls within ruyishaped panels reserved against a pierced ground of auspicious bats amidst swirling clouds, surmounted by a recumbent elephant reclining on all fours with its truck and tail swiped sideways, further caparisoned in jeweled garlands, toppled with a finial in the form of the precious vase which the elephant carries.
H: 48 cm

Mounted as a hand scroll opening with a four character heading in a vertical line, Fengtian Gaoming, 'By Command of Heaven', flanked by a pair of dragons, followed by texts written in standard form reading from left to right in Chinese, set in the middle with two stamped seal impressions, all on a five colour tapestry woven with a pattern of stylized ruyi clouds mounted as a hand scroll.
L: 297.5 cm

Each of narrowed cylindrical section with the uppermot drip pan with conical ends intended for the placement of a candle above a duck with its beak slightly agape, its feathery wings wide spread, standing upon a turtle and a snake, all supported on a larger round drip pan encircled by a frieze of leiwen on the everted rim, all supported on three ruyi-shaped foot, the recessed base gilt with a four character reign mark.
H: 22.5 cm

Worked in the form of a blossoming peony with its stem constituting the base extending to further meandering leafy stalks rendered in openwork, the stone of an even pale tone, the exquisite stand finelly worked with a leafy foliage bearing the auspicious double-gourd in openwork.
L: 15 cm

Worked in the form of a bamboo section surrounded by further bamboo stalks around the body, the stone with russet veining and spinach green inclusions skillfully utilized in depicting the vibrant bamboo leaves.
H: 16 cm

Of compressed globular form resting on a protruding oval foot, finely worked with flowering peonies blossoms amidst undulating foliate scrolls on the body, encircled by a band of lappets around the slender neck with further c-scrolls on the bulbous section below the mouth rim, the stone with paler snowy speckling throughout.
H: 13 cm

Each of baluster form rising resting on a circular foot, the body enameled with a five-clawed dragon and phoenix in flight amidst stylized clouds above a band of swirling waves in brilliant enamels of red green, blue, magenta, and purpled, further encircled with a raised band separating the second register of blossoming flowers issuing from scroll works on the shoulder, the upper register of the neck with another five-clawed dragon in flight, the scaly body finely outlined in gilt against a ground of stylized clouds below a band of ruyi underneath the mouthrim, the base enameled with the six character reign mark.
H: 39 cm

Delicately enameled all around the well-potted body in pink, blue, yellow and turquoise with long continuous leafy meanders of lotus heads, surmounted by alternate gilt auspicious characters and stylized lotuses, the base with the six character seal mark.
D: 21 cm

Exquisitely potted with rounded sides resting on a circular footring, the exterior encircled with alternating fruiting peaches sprigs and flowering leafy magnolia sprigs set in between two bands of lines in underglazed blue, the interior enameled at the center with grapes borne on meandering leafy vines bearing succulent strands of grapes, the recessed base with a six-character reign mark enclosed in a double square cartouche.
D: 8.3 cm

Worked in the form of an archaic dragon with its coiled inward, finely incised pointed ears above the mouth rendered in openwork, the body with c-scrolls and spirals, retaining small areas of russet skin near the extremities of the tail.
L: 8.5 cm

The attractive pale green carving with russet inclusions, naturalistically worked in the form of two succulent pomegranates issuing from a gnarled leafy stem, with an insect depicted feasting on one of the fruit, the composition skillfully incorporating the natural russet streaks of the stone into the composition of the pomegranate seeds on the reverse, all boldly worked in high relief.
L: 6 cm

Exquisitely worked to the form of three figures playing the drum, one figure standing next to another who lunges upon a kneeing figure as they perform with their musical instruments, the pleats on their lose garment finely executed, the stone of an even white tone.
L: 5 cm

Modeled with a bearded scholars dressed in a loose long sleeves robe grasping onto a ruyi scepter in his right hand, standing next to a smiling boy holding an auspicious infinite knot with both hands, both standing under the shade of the pine tree amidst pieced rockworks, the well-polished stone of a pale celadon tone with minute light russet inclusions.
H: 17 cm

The heavily constructed bulbous vessel of semi-spherical form delicately carved on the exterior with a centralized taotie below two confronting archaic birds and further scrollwork, flanked on the sides with loose ring handles suspended from auspicious bats at the rim, all supported on five ruyi-shaped feet, the stone of an even luscious colour.
D: 23.2 cm

The rounded sides are decorated on the exterior with six alternating pairs of foliate medallions separated by foliate spandrels between double line borders, the base with the Yongzheng six character seal mark within double circles.
D: 10 cm

Potted with a compressed globular body supported on a straight foot rim rising to a long cylindrical neck, enameled on the body with iron-red bats flittering amidst stylized cloud scrolls, all set in between a band of ruyi-heads below the mouth rim and lappets encircling the foot, the based enameled with the six character reign mark.
H: 32 cm

Finely potted with gently rounded sides above the circular footring, the interior enameled with a pair of scaly five-clawed dragons in pursuit of a flaming pearl amidst stylized clouds and classic scrolls, all below a band of keyfrets encircling the rim.
D: 9.5 cm

Of bulbous form tapering at the foot with a flattened base, decorated on the body with fishes with its fins finely depicted amidst florets and leafy sprigs in vibrant tones of wucai, all set in between a band below the straight rim and triple bands near the extremities of the base.
H: 7 cm

The domed-shape vessel rising to a circular opening above the flat base, decorated on the sides with a spring scene of delicate flowering magnolia issuing from leafy branches.
D: 6 cm

Of plain cylindrical form, the wood of a rich dark reddish-brown tone.
H: 17 cm

Worked to the form of three reclining rams with incurving horns and theirlegs tucked underneath, the smaller goats each biting onto a sprig of lingzhi,the well-polished stone of an even tone.
L: 4.2 cm

Worked in the form of an elephant resting on all fours with feet tucked on the reverse, its truck and tail swift to the side, the stone with dark brown and yellowish brown inclusions.
L: 6 cm

The plaque flanked by a pair of archaic birds in openwork, the center incised with the four character ru xin ru yi, the reverse with a pendant Te-ching or single sonorous stone terminating with two tassel ends hanging vertically, a loop at the top intending for stranding purposes.
L: 7.8 cm

The shallow dish is carved rising to a flaring rim supported on a short straight foot, finely incised on the wells of the interior with c scrolls, the center with an egret flying upon the boundless sky looking in the direction of two egrets swimming in the quiet pond and one standing near the shore, finely incised with a florets on the recessed base and keyfrets encircling the base of the footrim, the stone with strikes of russet inclusions. D: 17 c m

The baluster body is decorated with the scene of a seated figure reading a book on his low table inside his dwelling with an open window and door open, amidst bamboo outside the garden, further engraved with inscriptions, the circular cover unadorned.
H: 8 cm

Of double gourd form resting on a broad straight footrim, finely incised with blossoming Chrysanthemum and leafy sprigs around the body of the upper and lower sections.
H: 14 cm

Of quatrefoil form resting on four short feet, decorated with a raised vertical band on the four sides of the body, the cover unadorned, the base inscribed with a four character artist's mark.
H: 9.5 cm

Of globular form rising to a wide circular mouth, the bulbous body in simulation of a cinched saddle with raised double bands across the neck and body in simulating of a tied rope, further adorned with splashes of gilded irregular splashes all over.
H: 13 cm

Modeled with deep rounded sides rising from a straight foot, decorated on the exterior with two quatrefoil roundels enclosing a figure standing under the shade of the luscious pine as the sailor of a sampan emerges from rockworks on the quiet lake, while anther figure fishing on a sampan with a basket filled with the day’s catch amidst rockworks and gnarled pine trees, the other side decorated with three figures, a long bearded figure walking next to a child, both carrying firewood on their backs returning to their brick dwelling amidst a luscious pine garden, all reserved against diaper motifs on a bright gilt ground, the base with the four chacater Qianlong chenhan within a square cartouche.
D: 9.5 cm

Of flatten globular form with a waisted neck below the straight mouthrim, the body decorated with blossoming lotuses and buds in high relief issuing from outcrops at the base, flanked by a pair of delicate ruyi sprig handles with loop handles, toppled with a cover surmounted with a domed-shaped finial.
H: 16.5 cm