CHEN RONG (13TH CENTURY) AS CATALOGUED IN SHIQU BAOJI\nSix Dragons\n\nHandscroll, ink on paper\n\nPainting: 13 ½ x 173 3/8 in. (34.3 x 440.4 cm.)\n\nCalligraphy: 13 7/8 x 32 5/8 in. (35.1 x 82.8 cm.)\n\nInscribed, with one seal of the artist\n\nColophon by Emperor Qianlong (1711-1799), with two seals\n\nDated mid-spring, wuxu year (1778)\n\nColophons by Yu Minzhong (1714-1779), with two seals; Liang Guozhi\n\n(1722-1786), with two seals; Wang Jie (1725-1805), with two seals; Dong Gao\n\n(1740-18
Jean-Michel Basquiat\nacrylic and oilstick on wood\nExecuted in 1984.\n\nJean-Michel Basquiat and Flexible Fred Hoffman Fred Hoffman, PhD, worked closely with Jean-Michel Basquiat during the artist's residency in Venice, California in the early 1980s. He has written extensively on Basquiat’s practice, most recently authoring The Art of Jean-Michel Basquiat, published in 2017.Special Catalogue: Jean-Michel Basquiat, FlexibleWhen Jean-Michel Basquiat was asked to define his art, he answered withou
Finely potted with shallow rounded sides rising from a slightly splayed foot, exquisitely veiled in a luminous and translucent bluish-green glaze suffused with a dense network of glistening ice crackles, the glaze thinning at the extremities to subtly reveal the body beneath and pooling particularly along the cavetto and foot to an unctuous caesious colour, the underside with three delicate 'sesame-seed' spur marks\nA RU ICE CRACKLE BRUSH WASHER\nRegina Krahl Ru guanyao, the official ware of the
A MAGNIFICENT AND HIGHLY IMPORTANT BRONZE RITUAL WINE VESSEL, FANGZUN\n\nLATE SHANG DYNASTY, ANYANG, 13TH-11TH CENTURY BC\n\nThe decoration on each of the four sides of the faceted vessel is arranged in horizontal registers divided by vertical notched flanges which are repeated at the corners. The main register of the tapering mid-section is cast with large taotie masks with dragon-shaped horns, each flanked by descending kui dragons on either side and below a narrow register of confronting kui
Arguably the most celebrated porcelain throughout the centuries, delicately potted with flawless translucent sides flaring out from the countersunk base to a subtly everted rim, the exterior painted in faint outlines of cobalt blue under the glaze and picked out in overglaze enamels of yellow, green, light and dark olive green, and two tones of iron red with a lively continuous scene of a red rooster and his golden hen out in a garden with their chicks, one side of the cup depicting the rooster
Signed YUAN, dated 1982, inscribed, with four seals of the artist, and one collector's sealINSCRIPTIONPlanting plum trees upon the twin streams,I grew old and weary of the noisy city;Who can believe when A Chao arrived,That earthly Peach Blossom Spring was just a dream.The plum blossoms grow exuberantly at Moye Jingshe. Friends who have seen them were full of praise and admiration, and described it as Paradise. They said that ever since I moved here, neighbours have settled in and grew flowers.
A MAGNIFICENT AND HIGHLY IMPORTANT BRONZE RITUAL WINE VESSEL AND COVER, FANGLEI\n\nLATE SHANG DYNASTY, ANYANG, 13TH-11TH CENTURY BC\n\nThe decoration on each of the four sides of the high-shouldered, tapering body is arranged in horizontal registers divided by vertical flanges which are repeated at the corners. The two lower registers are cast in relief with large taotie masks, one of which is centered by a D-shaped handle surmounted by an animal mask. In the register above, a forehead shield sy
Comprising two sets of five leporello albums (vols 61-65 and 226-230) from the Prajnaparamita Sutra, the Sutra of Perfection of (Transcendent) Wisdom, sumptuously bound in yellow silk with a woven pattern of Buddhist motifs, each album executed in gold ink on indigo-coloured goat-brain paper with a glossy black surface, the first album further decorated with illustrations through filling the engraved grooves with gold, opening with a stele with six five-clawed dragons soaring sinuously and chasi
Conjured out of immaculate kaolin clay with steep rounded sides flaring out just barely at the rim, fired plain in the imperial kilns in Jingdezhen and thereafter carted off to the Imperial Workshops beyond the walls of the Forbidden City in Beijing, most delicately painted using imported enamels finely ground and blended with four five-lobed azure-ground window panels the colour of a fair morning sky, each revealing respectively, narcissus with cinnamon rose, hibiscus, poppy with tuberose, and
Well-cast and portrayed seated in vajraparyankasana, the right hand held in bhumisparshamudra and the left in dhyanamudra, wearing a pleated robe draped over the left shoulder with the undergarment gathered at the chest, the serene face with downcast eyes and a meditative expression, flanked by a pair of long pendulous ears cut with vertical slots, the head and domed ushnisha covered with tight curls and surmounted by an ovoid jewel, all supported on a double lotus pedestal with beaded edges and
Exquisitely potted, of ten-lobed mallow shape with deep rounded sides rising from a correspondingly shaped foot to a flared rim, the exterior strikingly decorated in different washes of cobalt with a dense and dynamic scene depicting four fishes, a carp, mandarin fish and two kinds of bream, swimming amidst water plants, the fishes with dark blue outlines and finely detailed with hatching and stippling, rendered interrupted by clumps of lotus blooms and leaves, the latter with white veins precis
A BRONZE FIGURE OF ARTEMIS AND THE STAG\n, LATE HELLENISTIC/EARLY ROMAN IMPERIAL, 1st CENTURY B.C./1ST CENTURY A.D., A BRONZE FIGURE OF ARTEMIS AND THE STAG\nThe goddess shown at the moment just after releasing her arrow, her head turned to her left, a bow formerly held in her extended left hand, and wearing elaborately laced sandals, short chiton fastened on the shoulders and with overfold at the waist, the ends of the drapery billowing at the sides, and a fragmentary himation draped over the b
AN EXCEPTIONALLY RARE AND IMPORTANT BLUE AND WHITE JAR, GUAN\nYUAN DYNASTY, MID 14TH CENTURY\nRobustly potted standing on a broad, low foot rising to a full rounded shoulder below a short cylindrical neck and a slightly thickened mouth rim, vividly painted in a deep and vibrant cobalt blue around the body with a narrative scene depicting a robed figure seated in a two-wheeled cart drawn by a tiger and a leopard, following two foot soldiers each carrying a spear, approaching a rustic bridge acros
AN EXTREMELY RARE MASSIVE BRONZE RITUAL WINE VESSEL AND COVER, POU\n\nLATE SHANG DYNASTY, ANYANG, 13TH-11TH CENTURY BC\n\nThe broad, rounded body is raised on a tall, slightly splayed foot crisply cast with three taotie masks formed by three pairs of elongated dragons confronted on heavy notched flanges. The lower register of the body is decorated with three large taotie masks with bulging eyes, each flanked by small descending kui dragons, beneath a plain, narrow band and a wider band of dragon
A HIGHLY IMPORTANT AND EXTREMELY RARE BRONZE RITUAL RAM-FORM WINE VESSEL, GONG\n\nLATE SHANG DYNASTY, 13TH-11TH CENTURY BC\n\nThe animal is cast standing foursquare and fitted with an elongated cover ending in a ram's head with prominent C-shaped horns. The top of the cover is decorated with a pair of kui dragons and a taotie mask and is set with a standing kui dragon with curling tail and a small standing bird at the center. The body is cast on each side with a large crested bird, its clawed fo
石渠寶笈 記載為趙令穰（上等） 鵝群圖 設色絹本 手卷\n錢選（1235-1305）題跋：趙令穰字大年，弟令松，字永年，友于俱能畫，\n其法出唐人畢宏、韋偃。此卷廼大年筆，聰明過人，變二者之法，自出一家，\n可敬可服。選少年亦師之，可爲雅玩。大德元年（1297年）夏，吳興錢選舜舉跋。\n鈐印：舜舉印章、舜舉\n馮子振（1253-1348）題跋：\n長楊並立黄栗留，舂鉏散落飛不收。\n戎葵燄發撑薄縟，細雨薫風看未足。\n鵞池超出逸少羣，山隂爾日専竒勛。\n嶔崎石老濕醉墨，樹色嵗寒迎古栢。\n大年小景二百年，縑題尚此雲日妍。\n呉興繪手差韵度，尾尾精神難㸃汚。\n人間肉眼莫作癡，想像逺意如當時。\n千金雙璧俱白首，此詩此畫那復有。\n舊見大年伯仲作小景，大抵與俗閒物色渾别。\n此卷大似山隂道中，邂逅王逸少。\n緑隂長晝，鷗鷺閒雅，鳴鸝在上，種種生色。\n遂垂涎波上之禽，欲籠之而歸。\n少慰平生健嘬之老頬，其風流韻勝。\n大略故可覩已，乃為書之。\n海粟老人馮子振觀，大徳乙巳（1305年）四月既望客燕南。\n韓性題跋：\n楊栁隂濃白鷺飛，簍蒿水暖子鵞肥。\n燧林芳草無窮思，何事王孫怨不歸。韓
THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS MAY BE REQUESTED BY SOTHEBY'S TO COMPLETE THE PRE-REGISTRATION APPLICATION FORM AND TO DELIVER TO SOTHEBY'S A DEPOSIT OF HK$1,000,000, OR SUCH OTHER HIGHER AMOUNT AS MAY BE DETERMINED BY SOTHEBY'S, AND ANY FINANCIAL REFERENCES, GUARANTEES AND/OR SUCH OTHER SECURITY AS SOTHEBY'S MAY REQUIRE IN ITS ABSOLUTE DISCRETION AS SECURITY FOR THEIR BID. THE BIDnow ONLINE BIDDING SERVICE IS NOT AVAILABLE FOR PREMIUM LOTS.overwhelmingly beautiful
A MAGNIFICENT AND UNIQUE FALANGCAI 'GOLDEN PHEASANT' VASE\nBLUE ENAMEL MARK AND PERIOD OF QIANLONG, THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE. BIDnow ONLINE BIDDING SERVICE IS NOT AVAILABLE. of the rarefied guyuexuan type, the body of tapering ovoid shape resting on an unglazed foot enclosing the countersunk mark, surmounted by the tall cylindrical neck finished with a slightly lipp
Zhang Daqian (Chang Dai-Chien, 1899-1983) Lotus and Mandarin Ducks, Lotus and Mandarin Ducks\nSigned DAQIAN ZHANG YUAN, dated ding hai, 1947, spring, titled, with a dedication to Mr and Mrs Kao Ling-mei, two seals of the artist, and two collector's seals of Kao, including one on the titleslip. Titleslip by Kao\nInk and colour on paper, hanging scroll\n184.5 by 95 cm.; 72 5/8 by 37 3/8 in.
AN OUTSTANDING BLUE AND WHITE VASE WITH FRUIT SPRAYS, MEIPING\nMING DYNASTY, YONGLE PERIOD, THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS MAY BE REQUESTED BY SOTHEBY'S TO COMPLETE THE PRE-REGISTRATION APPLICATION FORM AND TO DELIVER TO SOTHEBY'S A DEPOSIT OF HK$1,000,000, OR SUCH OTHER HIGHER AMOUNT AS MAY BE DETERMINED BY SOTHEBY'S, AND ANY FINANCIAL REFERENCES, GUARANTEES AND/OR SUCH OTHER SECURITY AS SOTHEBY'S MAY REQUIRE IN ITS ABSOLUTE DISCRETION AS SECURITY FOR THEIR BID.