Lot 7: http://en.51bidlive.com/Item/536984
A rare parcel gilt bronze seated figure of 'Water-Moon' Guanyin, Late Yuan/ Early Ming 13th-14th Century. The bodhisattva shown seated in rajalilasana with left leg pendent and resting on a recumbent Qilin, the right arm extended resting on the right knee, the face finely cast with a contemplative expression that embodies both male and female characteristics, the hair in long knotted plaits falling onto the shoulders and adorned with a crown, the figure seated on an ungilded integral rocky base.
141)Rare shadow agate Snuff Bottle, Qing Dynasty
lot 141: http://en.51bidlive.com/Item/537119
Rare shadow agate Snuff Bottle, Qing Dynasty Circa 1750-1850, Probably Suzhou carved, of oblong flattened flask form, with rounded shoulders curving inwards at the base all resting on a finely squared, recessed and polished foot rim, honey colored agate well worked with shadow inclusions, cleverly relief-carved to depict an eagle, a snail and another shell below, later stopper. 2 1/8" h., 5.3 cm. [Excluding stopper].
81)Large celadon jade Hu-form archaistic vase, Ming Dynasty
lot 81: http://en.51bidlive.com/Item/537058
A large celadon jade Hu-form archaistic vase, Ming dynasty, flattened Hu-form and worked with bands of archaic decoration, centered on both sides by a panel of entwined chilong, tubular lug handles at the waisted neck, all raised on a low spreading oval foot, Imperial Zitan stand. 7 3/8" h., 18.7 cm. [excluding stand]
75) Mutton Fat White Jade 'HeHe Erxian', Ming Dynasty
A rare mutton fat white jade group, Ming Dynasty (circa 14-15th Century), worked with two boys side by side, one standing and holding a lotus branch stretched and arched over his shoulder (Shide), the other nestled against his friend from a sitting pose and holding a box (Hanshan), the two known as the HeHe twins or HeHe Erxian.
The standing Shide with head turned and with a sweet expression as he glances over towards his friend and Hanshan replies the affectionate greeting with his head angled up and a glowing smile on his face, the wonderful stone is considered to be a quartered mutton fat white jade pebble and is of fine even white tone with little to no inclusions visible. Details are finely rendered using carving on different planes and the whole elegantly polished throughout. 2 1/2" L., 6.3 cm.
Lot notes: Carvings from the Ming dynasty in white jade are rare. The purity of the subject and the high quality of the stone suggests this was likely produced in the Imperial Jade Workshops of the first half of the Ming. This is an early and fine example of the HeHe Erxian boys. "Han Shan and Shi De were monks and good friends in the Zhenguan Period of Tang Dynasty. The Chinese characters for “harmony and good union as a phrase (hehe) mean a harmonious mind, reconciliation, and smooth going. The god of harmony and good union, originally was in charge of family relationships, gradually evolved into the god of marriage. It also changed from one god to two gods, one holding a lotus and the other a treasure box. Han Shan and Shi De were officially canonized as the God of Harmony and the God of Good Union in the first year of Yongzheng rule in the Qing Dynasty. They are widely regarded as gods who bless love between husband and wife.
62)A 'Longquan' celadon tripod dish, Ming dynasty
A 'Longquan' celadon tripod dish, Ming dynasty, of stoutly potted circular archaic form with unglazed central reserve of foliage, Bagua band exterior, on three mask feet. 13" dia. (33cm dia.)
Provenance: Sothebys New York
106)A Rare Imperial Beijing Glass Tripod Censer, Qianlong
此作品追索至乾隆时期，以高火制作的玻璃功艺极为罕见。整作品以猛兽为主旨，手柄以狮子作题材，令鼎增添一份威严，再以其爪作脚；原来只是烧至焦糖色的外表，被工匠巧妙地切割至平衡而雪白的表面，面本带的焦糖部份再更上一层楼的作为各种神兽，造功精美讲究至极。 这作品原为瑞典收藏家Carl Lindgren所拥有，他于1863年在中国大沽行船，后来因身体问题于1870年11月回到伦敦后于1871年病逝，作品就由其家人承继。
A rare Imperial Peking glass tripod censer, Qianlong Period, of stout globular form with carved lion and ring handles, tripod stylized animal head feet and waisted neck rising to a rim with bail handles, the thick walled caramel color body deeply cut to reveal white glass with a band of double chilong and 'c' scrolls below a lappet ring band, hardwood fitted base and cover with agate finial. 5 1/8" h., 13 cm. [excluding stand]
Provenance: Previously from the collection of Carl Lindgren (1843-1871) a Swedish Sea Pilot and Businessman Carl Lindgren (1843-1871). He came to Taku close to Tianjin in 1863, at that time China's most important port north of Shanghai. Due to health problems Carl Lindgren left China in November 1870 and died in London during the spring 1871. This glass censer was among the things collected by his family after his death. By descent within the family. From a Montreal Collector Lot notes:"A new chapter in the history of Chinese glassmaking began in 1696, the thirty-fifth year of the reign of Kangxi, when a glass factory was established within the imperial city in Beijing under the direction of the Jesuit missionary Kilian Stumpf (1655-I720). The type of glass produced there, of which this vase is an example, was subsequently known in the West as Peking glass. Craftsmen were recruited from Boshan, the traditional center of glassmaking in China, and from Guangzhou (Canton). The workshop's peak period, in both quantity and quality of its wares, was between 1740 and 1760, in the early reign of the Qianlong emperor. Palace records show that Jesuits with expertise in certain Western glassmaking techniques were active in the workshop at this time. After 1760, glass production in the palace workshop declined rapidly, as did the quality of the wares." -Metropolitan Museum New York Bulletin.
Carl Lindgren (1843-1871)
Lindgren’s permit for travelling in and out of China
59)Qianlong period brushpot with guan type glaze (Lot 59)
A Qianlong period brushpot with a Guan - Type glaze. The brush pot potted in two parts, a tripod stand and a cup flanked with lion head masks, the glaze of blue-ish grey color, the crackle with certain lines painted with pigment and re-fired in the kiln for the pigment to be absorbed.
4 1/4" h., 10.7 cm.
Provenance: A French Home. A Montreal Collector
80)A rare Chinese jade Dhyana mudra Buddha - Liao Dy.
A rare Liao Dynasty Chinese jade Buddha depicted in Dyana mudra or meditation pose, depicted sitting upright in with eyes closed and hands together palm up in his lap. Feet are held in the full lotus position with the souls of the feet facing up. Buddha sits atop a stylized double lotus throne. The stone of a celadon tone with sugar inclusions. Some alteration is visible, some earthen encrustations extant. 3 3/8" h., 8.5 cm.
Provenance: From a Pennsylvania Collection Lot notes: Religious icons in jade are particularly rare and usually from a much later date than the present lot. Although in modern terms 8.5 cm is not a very large size - for the time this statue was produced that was among the largest size items one might expect in jade. This would have been produced for an altar in a meditation sanctuary of a temple.
74)White Jade Mythical Beast, Qing Dynasty,17/18th c.
lot 74: http://en.51bidlive.com/Item/537051
A white jade Mythical Beast, Qing dynasty 17/18th c., the recumbent beast formed nicely from a quartered mutton fat white jade pebble, the beast is shown with one horn on it's head, two side swept ears, bulbous eyes and a flattened nose and jade, nose forming a stylized Lingzhi, the body with strong definition to depict body strong body shape, the hindquarters with a bifurcated tail, the beast is grasping a Lingzhi branch which is elegantly carved to show gnarls and a leaf along with the mushroom (Lingzhi), the stone of an even milky white texture with natural russet highlights to one side, wood stand. 2 3/8" L., 6cm.
Provenance: From A Montreal Collector Lot Notes: Jade beasts such as this were carved with lifelike and supernatural characteristics because they sat as a friend on a scholar's desk. Typically an animal such as this would be used as a brush-rest. Many such scholars desk set's and treasure boxes are preserved in the Place Museum in Taipei. This elaborate tradition employing small jade animals such as this was observed by only the highest officials and especially Emperor Qianlong himself who was a tireless collector of small jade curios. The style observed here is typical of the highest level works produced at the end of Ming in the first half of the 17th century however many of these stylistic traditions continued until the Qianlong period so it it is difficult to specify. It is well known that this type of material was very rare and expensive especially before the later Qianlong period.
72) A pale celadon archaistic jade vase, 18th. c.
lot 72: http://en.51bidlive.com/Item/537049
曾由著名收藏家Count Primo Alsocernantoni Louis von Cseh （伯爵）所擁有，並於1963年7月16日在纽约的Christies拍賣會中賣出，這玉瓶在當年已被視為重要拍賣品，上一手收藏家來自蒙特利爾，最後由Valeona Gallery帶給大家。
A pale celadon archaistic jade vase, 18th. c., Kangxi - Qianlong, Beijing Imperial Workshop, of flattened HU form with elephant head handles and suspended rings, carved in relief with an interwoven stylized pattern of archaic dragons, below a wide wavy band under the rim, stone of even translucent light celadon color. 8 1/2" h., 21.8 cm.
Provenance: -Collection of Count PrimoAlsocernantoni -Louis Von Cseh of New York City -1963 July 16th Christies New York. Lot 22 -Montreal Collector Lot Notes: Archaic motifs are commonly incorporated into jade carving design however the present lot exhibits a very respectful invocation of traditional motifs original to an ancient Chinese bronze. the carver of this object possesses Scholarly knowledge of ancient bronzes as well as a high level of skill suggesting that this vase could have been produced in Beijing on imperial commission.
77) White jade 'Cats and Dragonfly' group, 18th c.
lot 77: http://en.51bidlive.com/Item/537054
White jade 'Cats and Dragonfly' group, 18th c., Qianlong Period - Attributed to Palace workshop Beijing c. 1760-1795. Well worked as one large and two smaller cats, the larger depicted with a dragonfly grasped in its mouth, all recumbent on a naturalistically rendered leaf selectively eaten in a linear track by a worm, the white pebble stone of even tone and with natural russet markings. 3 7/8" L. 9.8 cm. (excluding stand)
Provenance: From a Montreal Collector Lot notes: White jade has always been a very expensive stone. During the reign of emperor Qianlong white jade was controlled, carefully passing an official assay and only then distributed to workshops based on the quality of that workshop's production. In the Imperial Palace Workshops it is said that the master carver would take time and careful study the nature of the stone - Here, a quality stone was selected and this whimsical 'Cats and Dragonfly' group emerged. This depiction of three cats presents a wish for many generations and the worm on the underside contrasts with the dragonfly. It suggests a notion of metamorphosis from worm to butterfly. Additionally cats are known as protectors of silk worms as they keep rats away and rats are known to pray on silk worms. The expression Tsan-Mao or Silkworm-Cat is a homophone for San-Mao (Three cats). The dragonfly or qing-ting represents peace because of the word "qing" which also means "peace". The whole evoking wishes for peace, longevity and many generations and wealth.
137) Qianlong White Jade Snuff Bottle, 18th Century
A Qianlong white Jade snuff bottle, 18th Century, of elongated bottle form with high relief mask and ring handles, the stone of exceptional even tone mutton fat jade, later stopper. 2 3/8" h., 6 cm. [excluding stopper]
190) A Chinese silver 'Rooster' necklace Qing.
lot 190: http://en.51bidlive.com/Item/537169
A Chinese silver 'Rooster' necklace Qing Dynasty, the long chain fitted with hand worked silver roosters and hanging bell tassels and strung with natural carnelian, chalcedony and coral beads. approx: 32" L., 81 cm.
地址：Valeona Gallery (維利安郍) 3737 圣雅克路 ��北蒙特利尔市 加拿大