press release (hong kong) 1 april 2017 · press release (hong kong) 1st april 2017 poly auction...
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Press Release (Hong Kong) 1st April 2017
Poly Auction proudly presents Spring Auction 2017 to celebrate its 5th anniversary,
presenting 1,500 masterpieces for the savory of connoisseurs
Preview:1st to 3rd April | Auction: 2nd to 4th April
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To commemorate its 5th anniversary, Poly Auction (Hong Kong) Limited (Poly Auction Hong
Kong) will host its Spring Auction at Grand Hyatt Hong Kong from 1st to 4th April 2017. The
Department of Chinese and Asian Modern and Contemporary Art, Chinese Paintings, Chinese
Ceramics and Works of Art, Jewels and Prestige Collections will present exquisite
masterpieces, including Parasol Hall in Autumn by Zhang Zongcang of Qing Dynasty and Pink
Chrysanthemums in a White Vase by Sanyu.
Three sections will be presented by the Department of Chinese Ceramics and Works of Art, in which rare and fine arts such as Imperial White Jade “Zi Qiang Bu Xi” Seal of Qianlong Period
will meet collectors and connoisseurs. The Department is also proud to present 27 imperial
porcelain artifacts of the Yuan, Ming and Qing Dynasties that are collected by the great Chinese
porcelain collector, The Meiyintang Collection. The highlight of the Jewels and Prestige
Collections lies on the world exclusive set of 65.55 and 85.41 carat Colombian emerald and
diamond bracelet and necklace by Harry Winston. 1500 lots will be presented in seven sections
of the Spring Auction, with a total estimated value of over HK$700 million.
A joint auction named “Fusion – Special Feature of Chinese Art” will be hosted by Poly Auction
Macau and Poly Auction Hong Kong, presenting Mask Series 1996 No. 6, which is Zeng Fanzhi‟s
most important work from his Mask series. The work has once captured a new auction record
of Chinese contemporary art. The auction houses aim to present masterpieces for the savory
of connoisseurs.
Auction Highlights – Spring 2017
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Chinese and Asian Modern and Contemporary Art
To celebrate our 5th anniversary, Poly Auction Hong Kong is proud to present a series of
museum collectibles by renowned Chinese modern artists, including masters like Sanyu, Wu
Guanzhong, Zao Wou-Ki and Chu Teh-Chun. Their masterpieces have been exhibited several
times at different important exhibitions across the international art museums, making it very
commendable in this field. Therefore, it is believed that their collections will be leading the
market again. The highlight of Chinese Contemporary art lies on Mask Series 1996 No. 6, one of
the most important representative works created by Zeng Fanzhi. Mask Series 1996 No. 6 is
also the most significant group portraits of the series. Characters arrangement in his work and
the enormous art size has revealed the artist‟s maturity and confidence in style. Early Chinese
Contemporary Art will also include major works by artists such as Liu Ye, Zhang Xiaogang, Yue
Minjun, Mao Xuhui and Ding Yi, as well as the works by Yoshitomo Nara, Mr., Aya Takano and
other Asian artists will show the development of modern and contemporary art of Asia. This
extraordinary artistic feast will definitely be a valuable opportunity for connoisseurs to enrich their collections of rare collectibles.
Lot 173
Zeng Fanzhi
Mask Series 1996 No. 6
Painted in 1996
oil on canvas
each: 199 x 179.3cm.
overall: 199 x 358.6cm.
Estimate on request
In 1993, Zeng moved from Wuhan to Beijing. Surviving in a time of rapid change and urban
development, he began to create the Mask series in the following year. Created in 1996, the
Mask Series 1996 No. 6 becomes the most critical group portraits of the series. Characters
arrangement in his work and the enormous art size has revealed the artist‟s maturity and
confidence in style.
Continuing the strong expressionism from the Hospital series and without any oppression from
the atmosphere, through the expressions of brushstrokes by Zeng, he exaggerated the heads
and hands of the characters. The emotions hidden under the masks seem to be one the verge
to explode. The bloody flesh tones strongly contrasted with the cold white colour of the masks,
and the bright yellow background reinforces this agitation. However, through the protagonists‟
harmonious body language, it helps to mitigate the conflict. The picture thus achieves a delicate
balance between reason and sensibility.
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Differentiates from the early settings in the Mask series by having the protagonist to be in suit,
symbolically presented as a successfully person within the community, Mask Series 1996 No. 6
became the first pile of works evolved from a narrative style of the third-person perspective to
the elaboration of a personal experience. During Zeng‟s childhood, he was longing to have his
own red neckerchief and uniform, but this shadowy event has consumed by his memory after
he grew up. The work not only explores the social status of China in the face of rapid social
transformation in the 1990s, the individual also conceals the social state of the real self-desire.
Zeng used the protagonists‟ overly intimate body language by having their arms around each
other as the whole composition to contrast with the same facial expressions with the masks
covered over the men and women. The image appears to be intimate but full of hypocrisy. The
Mask Series 1996 No. 6, subconsciously implanted the artist‟s own living conditions. Recording
China‟s experiences in urban development of human landscape, the work also presents human‟s
superficial and fake relationships in the ever changing era.
Lot 133
Sanyu
Pink Chrysanthemums in a White Vase
Painted in 1931
oil on canvas
100 x 70.6cm.
Estimate:
HK$ 40,000,000-60,000,000
US$ 5,128,200-7,692,300
Chrysanthemums in Full Bloom—A Key Work from Sanyu's ―Pink Period‖
The still-life genre was one that occupied Sanyu for at least four decades of his creative career.
He loved most painting chrysanthemums in a vase, returning often to this theme in his many
painted odes to that flower. This piece is regarded as the largest size within his early works, the
most prosperous for its creation in 1931.
The flower and vase subject of Pink Chrysanthemums in a White Vase appears in the center of
Sanyu's pictorial space, where he breaks with realistic three-dimensional presentations by
reconfiguring and reorganizing the spatial presentation. Without any description of the
background and the separation of the desktop, the left and right side of the pink curtain is not
only the space of the partition and the barrier but defines the relationship between the different
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perspectives. This echoes how Sanyu used different ways to describe the chrysanthemums and
the bottle itself: more than ten flowers in full bloom chrysanthemum in the scratch of the tough
lines revealed in the pink and indigo blue. The vase's empty form is poised in front of the
background, while the linear depiction of the blooms and their stems emerging from the vase
create an unusual depth through the texture formation from the oil paints. The blending of
these lines and patches of colour redefine the formal structure and space of the painting,
producing a multi-dimensional feeling within the limited space of the canvas and communicating
a Chinese view of life and the universe. The image of chrysanthemum is always an important
self-metaphor and spiritual support. In his frequent depictions of chrysanthemums, Sanyu took
their lofty and unsullied image as a kind of portrait of his own life in foreign lands. In Pink
Chrysanthemums in a White Vase, Sanyu further elevated his core concepts to a new and even
higher level, revealing glimpses of the essential spirit that informed his entire creative career.
Lot 130
Zao Wou-Ki
24.10.68
Painted in 1968
oil on canvas
114 x 161.5cm.
Estimate:
HK$ 25,000,000-35,000,000
US$ 3,205,100-4,487,200
Zao's 24.10.68 is a classic work from this period. It was chosen for a retrospective of his work
the year following its completion, and the numerous times this work has been shown or
written about in publications indicate the special and important place it occupied in the artist's
career. It further possesses academic value due to the important clues it provides regarding the
artist's development. The size and composition of the work is magnificent. During the mid-
1960s, the strokes lines are clearly delicate and more, Zao not only used the pen strokes by
intersecting with each other, creating a dynamic movement, the change of the gradient of the
background also indicate the development of ink painting techniques after the 1970s. The deep brown tones of 24.10.68 at times give way to layers of light gold or olive green, while traces of
the splattering, flowing, and settling of Zao's diluted pigments engender a sense of time's
passage. The exposition of this landscape-like scene, and the light that threads through it,
became the artist's means of presenting his perception of nature as a whole. 24.10.68 embodies
this new stage of innovation, conceptually and formally, by Zao Wou-Ki. During this period, Zao fused
cultural outlook and formal elements, borrowing from both China and the West, and from tradition and
modernity, to produce a singular new artistic language.
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Lot 132
Zao Wou-Ki
11.6.65
Painted in 1965
oil on canvas
114 x 162cm.
Estimate:
HK$ 25,000,000-35,000,000
US$ 3,205,100-4,487,200
The composition of 11.6.65 is structured around diagonal lines, while the canvas is segmented
by its bold blocks of colour. A gradation of tones moves from inky blacks at the outside toward
grey-browns and pinkish whites. The light background colours of the upper right add luminosity
and an endless expanse of space, while the build-up of brushstrokes on the left suggest shadowy spaces of unknown depth. The intense contrasts of 11.6.65 divide the canvas in two, evoking
the line from the Du Fu poem, Gazing at the Mountain, “the mountain imbued with the beauty
of creation, dusk and dawn are its dark and bright sides.” At the same time, Zao's portrayal of
nature and this implicit conception of interdependence between yin and yang, form and
emptiness, reveal how so much of Zao's art is informed by these traditional Daoist ideas.
Clusters of lines emerge at the boundary between darkness and light in the painting, like the
first rays of dawn; the universe is coming into being, day and night appear, and all else is about
to be born. This rich sense of life's energy is suggested in the colour contrasts and dynamic
brushwork of 11.6.65, and the energy of its atmosphere. This painting concretely manifests the
artist's return to the Dao of yin and yang and the spirit of traditional Chinese landscape painting.
Lot 134
Wu Guanzhong
Red Lotus Flowers
Painted in 1996
oil on canvas
92.3 x 60.3cm.
Estimate:
HK$ 15,000,000-25,000,000
US$ 1,923,100-3,205,100
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Lot 136
Wu Guanzhong
A Valley of Colours
Painted in 1993
oil on canvas
50 x 61.2cm.
Estimate:
HK$ 8,000,000-12,000,000
US$ 1,025,600-1,538,000
Lot 135
Wu Guanzhong
Pines
Painted in 1974
oil on board
46 x 46cm.
Estimate:
HK$ 6,000,000-8,000,000
US$ 769,200-1,025,600
Using Mountains as drafts-Wu Guanzhong Work Series
Lotus has always been a very rare theme within Wu Guanzhong‟s oil paintings series; inevitably
collectors will be in huge favour and concern with the relative work. Red Lotus Flowers has been
the first time to be exposed on the market. The artist used forms to deconstruct the lotus
flowers, “grow out of the mud but remain unsoiled, be present as pure and flawless even in
crystal clear water, sensible within and straight without; no unnecessary branches”. Wu
Guanzhong used Prussian blue and green to form a variety of layers, branches and lotus leaves
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interspersed in the relationship between the creation of the depth of space, which highlights the
blooming red lotus and budding colour point, layering and intersecting between on points, lines,
faces with colours. Red Lotus Flowers displays Wu Guanzhong‟s breakthrough in the
development from abstract structure back to figurative scene.
Pines and A Valley of Colours distinctively represent Wu Guanzhong‟s different styles across the
20 years. The symmetrical composition and square size in Pines show how the artist used his
rational conclusion and arrangement towards the landscapes at his early age. The eye level for
this work was set lower, making the scenery appear denser. Wu Guanzhong used a variety of
bright colours to describe A Valley of Colours, already out of the purely realistic scenery, the
valley between the pink, purple, yellow green, green and grey brown blocks revealed the artist‟s
subjective feelings for the mountains of the motherland; the central movement to create a line
of the rhythm of space, giving the work a strong visual tension to convey different emotions and
a lively atmosphere.
Lot 178
Liu Ye
Poet
Painted in 1999
oil on canvas
169.5 x 199.8cm.
Estimate:
HK$ 12,000,000-18,000,000
US$ 1,538,500-2,307,700
Liu Ye‟s unique childlike language imperceptibly makes the viewer involve in the world in Poet, a
work that roams between the memory of the individual and that of the artist‟s childhood. The
sophisticated and rational visual structure, under the artist‟s precise strokes depict the closed
red curtain will be separated from in front and behind the scenes, emphasizing the nature of the
„performance‟ on stage; at the same time, the sunglasses on the protagonists‟ faces blocked the
sights. Not only hiding the true emotions and facial expressions but the two different colours
shown on their lenses also hinted their different views towards the world. Poet thus become an
incarnation of personal experience where lies Liu Ye‟s deep emotion, depicting the artist‟s
inevitable impact and struggle as an adult after living through upheaval of the times.
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Lot 174
Zeng Fanzhi
The Deer
Painted in 2010
oil on canvas
Estimate:
HK$ 10,000,000-15,000,000
US$ 1,282,100-1,923,100
Zeng's 2002 Chaotic Strokes series may be regarded as an exploration of the origins of artistic style. By 2010, he had created a theme and transformed the composition. He also integrated
landscape and animals in order to stimulate discussion on the relationship between humans and
nature. The essence was exploring the spiritual aspect. The black branches of The Deer reflect
red and yellow colours, which come from Expressionism. The ground is blue and green,
providing a strong warm/cold contrast. Careful examination reveals important technical
innovations, such as layering lines on undried paint, broken and connected, clearly displaying the
progress and development of the artwork. It is as if the artist's individual action is clearly
presented in the picture, displaying Zeng's breakthroughs in the development of contemporary
art. The Deer presents a merger of eastern and western aesthetics, integrates concrete and
abstract Expressionist style, conveys the subject's spirit and emotions, and establishes richer
possibilities and modes of expression. As the lines and colours intersect, Zeng uses new and
unique artistic vocabulary to innovate upon contemporary art development and expressive
possibilities.
Fine Chinese Paintings and Calligraphy
As a crucial member of the Poly Auction Group, Poly Auction Hong Kong is dedicated to
present a vastly collected works of arts of the finest quality and authenticity. Commemorating
the 5th anniversary of Poly Auction Hong Kong this year, the Department of Chinese Painting
will present an auction with remarkable works highly cherished by collectors and enthusiasts.
(I) Classical Chinese Paintings and Calligraphy
Poly Auction Hong Kong will present classical paintings and calligraphy from the Ming and Qing
dynasties by historic maestros such as Parasol Hall in Autumn by Zhang Zongcang of Qing
Dynasty, which is destined to catch the attention of all connoisseurs.
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Lot 664
Zhang Zongcang
Parasol Hall in Autumn
Hand scroll; ink and color on paper
32.5 × 163cm.
Estimate upon request
Lot 663
Wang Hui Summer Mountain
Hand scroll; ink and color on silk
Estimate:
HK$ 6,200,000-7,200,000
US$ 794,900-923,100
(II) Fine Modern Chinese Paintings and Calligraphy
This section features the most influential maestros in the likes of Zhang Daqian, Li Keran and
Puru, including early publications, highlighting different phases and milestones of the artists.
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Lot 519
Li Keran
Summer Mountains
Painted in 1986
Mounted; Ink and color on
paper
68 × 45.5cm.
Estimate:
HK$ 17,500,000-18,000,000
US$ 2,240,000-2,307,700
Lot 521
Yu Fei’An
Bird and Flowers
Mounted; ink and color on
paper
81 × 33cm.×4
Estimate:
HK$ 5,700,000-6,700,000
US$ 729,600-857,600
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Lot 522
Zhang DaQian
Four Seasons
Hanging scroll; ink and
color on paper
151 × 41cm.×4
Estimate:
HK$ 4,380,000-5,380,000
US$ 560,640-688,640
(III) Chinese Contemporary Ink Paintings
Ink wash section comprises Pine Woods created by contemporary artist Wu Guanzhong in 1987,
recognized as one of his most outstanding grey tone paintings in the 1980s. This section also
features artists of Chinese fine-brush painting, including Reunion of the Lost Stones at Gen Yue by
Peng Wei, demonstrating the contrast of classic and contemporary ink wash artists.
Lot 438
Wu GuanZhong
Pine Woods
Painted in 1987
Mounted; ink and color on paper
87 × 68cm.
Estimate:
HK$ 5,000,000-7,000,000
US$ 641,000-897,400
Pine Woods, executed in 1987, is a masterpiece from Wu Guzhong's "Greyish Period". It is also
a rather delicate piece comparing with works of the same subject. Similarly, before creating the
colored ink version, Wu started with a delicate yet unadorned sketch, which lay the foundation
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for later abstraction. In the colored ink version, the painter has apparently freed from the
constraint of form. The composition and image became increasingly simple, with only horizontal
and vertical lines filling the entire space. With the variation of the density and thickness of the
strokes, Wu successfully represented the luxuriant and overlapping branches and enlivened the
trees onto the rice papers. The employment of color dots and typical modelling method of
modern design constitution reconstructed the image of pine trees, making it the simplest way
of expression.
In this highly formalized picture, Wu used different density of ink and colors to represent the
distance, the light and shadow. The delicate strokes, harmonious color schemes, the perfect
representation of form and quality, all of these had helped to achieve the ideal integration. The
Pine Trees is undoubtedly a rare masterpiece created in Wu's mature stage. From 1989 to 1990,
this piece was repeatedly exhibited in the itinerary exhibition "Wu Guanzhong: A Modern
Chinese artist" in San Francisco, Kansas City, St. John's, Birmingham and Detroit.
Lot 442
Peng Wei
Reunion of the Lost Stones at
Gen Yue
Painted in 2012-2014
Mounted installation; ink and
color on paper
190.5 × 432cm
Estimate:
HK$ 2,000,000-2,800,000
US$ 256,400-359,000
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Depicting large-scale and multi-faceted portraits of individual rocks marks the very beginning of
Peng Wei's endeavor of art, from which Peng discovered a unique artistic language that
differentiates her from other contemporaries. Admired by scholar-officials for their strange and
ethereal qualities, scholar's rocks are perceived as elegant forms with patterns and textures that
deliver aesthetic values since Wei and Jin period. Peng Wei was inspired by the ‘Dragon and
Stone' scroll by the Northern Song dynasty emperor Huizong-the painting solely features a
monumental rock against blank background, on top of where stands bamboos and flowers. On
the left side of the rock is Huizong's iconic calligraphy in slim yet sturdy script, which takes up
quite a space in the entire composition. Accomplished in the 12th century, this scroll yet
exhibits vigorous temporality in the eyes of Peng Wei. She believes the existence of these spirit
rocks, and appreciates them as a representation of history and a meditation on the artist's
experience of engagement. Through Peng Wei's ingenious deconstruction and reinstallation of
the this classical paradigm, scholar's rocks become an interpretation of the past that proves the
present, and encourage new possibilities within the context of contemporary ink art.
(IV) Glossiness of Uncarved Jade – Special Auction of Cui Ruzhuo [VIII]
In the past year, Cui Ruzhuo‟s artwork was exhibited at the Palace Museum – the most
distinguished art exhibition platform in China. In the meanwhile, the artwork went abroad and
reconstructed the perception of Russian audience on Chinese ink art. The exhibition in Russian
was one of the most significant cross-cultural communication activities between the two
countries. Borrowed from previous masters, Cui makes breakthroughs based on traditional
techniques such as finger-ink, jimo and splash-ink, and innovatively produces works of huge
dimensions. The works demonstrate strong artistic appeals, exquisite techniques and massive
atmosphere. The elements are not confined within the picture, but a realm of liveliness lingering
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in the viewers‟ hearts. Viewers are easily affected by the vigor and layers of the image. In terms
of inheriting the ink tradition, Cui makes further incalculable contributions. To explore the
essence of traditional art, Chinese art must follow the path of passing on the previous traditions.
Lot 1218
Cui Ruzhuo
Rain in the Autumn
Painted in 2010
Mounted; Ink and color on paper
178.5 × 521cm.
Estimate upon request
The auction – Glossiness of Uncarved Jade – Special Auction of Cui Ruzhuo [VIII] contains 26
masterpieces that employ techniques of finger-ink and jimo. Rain in the Autumn, in particular, as
an example employs jimo technique, has a huge dimension of 9.3 ㎡ . In this picture, the whistling woods covers the hills. The rugged and crooked maple trees stand in the autumn rain
alone. The entire scene is shrouded in misty rain and moist fog. The pine trees under the roof
sometimes disappear and sometimes reappear. Birds return to nest. Boat pulls in shore.
The changing and overlapping sceneries indicate the simple philosophy of “virtual and real”,
adding deeper meanings to the image. The idea of symbiotic is key to Chinese traditional ink
painting. This piece fully illustrates the changing seasons, and thus has endowed the concept of
time to the picture.
If “vigorous and grand” is the highest kind of Chinese painting, then jimo is the key to producing
“vigorous and grand” work. Cui is able to invent his own way of applying jimo in a mass of
darkness, despite the blurriness or clarity. His skilled jimo technique adds layers to the thick ink,
and therefore gives the picture a sense of philosophical connotation.
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Lot 1217
Cui Ruzhuo
Mountain View
Painted in 2011
Mounted; ink and color on paper
74.5 × 49cm.
Estimate:
HK$ 2,600,000-3,100,000
US$ 333,300-397,400
By the verdant bamboo bush, a pavilion stands by itself, with three people gathering inside. The
trees by the river are exuberant and the flowers are blooming. The distant emerald blue
mountain is partially hidden behind the mist. The bamboo leaves in the foreground are
executed by a few fast strokes that are easy and plump, which have rendered the leaves full of
variations. With the foreground and the distant view set off against each other and human
figures interspersed within, the image becomes fresh and poetic.
Lot 1216
Cui Ruzhuo
Snowy Mountain
Painted in 2012
Mounted; ink and color on paper
74 × 47cm.
Estimate:
HK$ 2,400,000-2,900,000
US$ 307,700-371,800
This piece of finger-ink painting is a snow scene. The finger-ink technique successful enlivens the
image. Snow scene in Chinese ink tradition has specific connotation. It refers to purity and
vastness. The elements on the snowy hill – jagged rocks, trees and bushes, scattered red leaves
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and pavilion hiding in the woods – consist a grand image. The blank space indicates white snow,
demonstrating the ingenuity of traditional Chinese painting.
Three sections, including “Chinese Ceramics and Works of Art”, “A Fine Selection of Early
Chinese Ceramics” and “In Pursuit of the Past – A Selection of Archaic Bronze Wares and
Ceramics”, will be presented by the Department of Chinese Ceramics and Works of Art in the
Spring Auction 2017.
The Meiyintang collection, rare ceramics, Buddhist artworks, jade sculptures, lacquer, furniture,
and other works of art will be presented in the section of “Chinese Ceramics and Works of
Art”. Meiyintang collection, poetically known as hall among rose bed, is one of the most
impressive Chinese porcelain collections privately owned by Western owners for more than
half a century. 27 imperial Chinese porcelain masterpieces from Jingdezhen, including artworks
of blue and white porcelain, underglaze-red porcelain and colored glaze from Yuan, Ming and
Qing Dynasty, will be the highlights for this section. The collection from trustworthy source
and origin depicts the prosperity of Jingdezhen‟s porcelain industry and is highly sought after by
collectors.
The very fine imperial white jade “Zi Qiang Bu Xi” Seal illustrating the mastery of late imperial
jade craftsmanship will be the highlight as well. It has previously appeared in the auction market.
Ceramics from Ming and Qing Dynasties including the imperial kilns produced during the reigns
of Qing emperors Kangxi, Yongzheng and Qianlong are of high quality. A variety of Buddhist
works of art will be presented, which are brilliant artifacts from the areas of Centre Plains,
Tibet and Himalaya across a wide range of time periods.
For the auction of archaic and medieval rarities, it is divided into early Chinese ceramic with10
pieces of ceramic collectibles from the 7th to the 13th century, and archaic bronze wares with a
series of the finest quality bronze wares. The unprecedented collectibles of the Spring Auction
are destined to catch the attention of the collector.
Chinese Ceramics and Works of Art
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(I) Chinese Ceramics and Works of Art
Lot 3008
A Rare Blue-and-White „Rosette‟
Moonflask
Yongle Period, 1403-1424
H 26cm
Provenance
1. Collection of Enrico Maestrini
2. Eskenazi Ltd, London
Literature
Regina Krahl, Chinese Ceramics from the
Meiyintang Collection, London, 1994-
2010, vol. 4, no. 1644.
Estimate:
HK$ 6,500,000-8,500,000
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US$ 833,300-1,089,700
Lot 3093
A Very Fine Imperial White Jade “Zi
Qiang Bu Xi” Seal
QiangLong Period, 1736-1795
H 5.5cm W 7.5cm L 7.5cm 697g
Provenance
1. Removed from Beijing, 1900
2. Collection of Galerie Langweil, Paris
3. Collection of Emile Guimet (1836-
1918), in the early 1900s
4. Passed down by the family of Guimet
5. Sotheby‟s Hong Kong, 8 October 2008,
lot 2007
Estimate upon request
This seal belongs to a set of three seals and is paired with Bazheng maonian zhi bao (Treasure
of the Eighty-year old who concerns himself with the Eight Signs). It is carved with the
characters Ziqiang buxi (Self-strengthening Never Ceases) and is used to make impressions at
the right or left corner of a painting or piece of calligraphy. The Emperor‟s choice of Ziqiang
buxi as a secondary seal was done to express his determination that before relinquishing power, he would not become indolent, but would always be mindful of his people and diligently do his
best to govern.
It is in square form, surmounted by a superbly carved pair of dragons. Each of them are
exceptionally well carved with bulging eyes and flaring nostrils above curling whiskers, a partially
open mouth revealing sharp fangs and even rows of teeth. The scales on the body and flowing
mane are finely incised. The two scaly bodies intertwine and are pierced through the centre
with an aperture.
At the bottom, the square seal is deeply carved with the four Chinese characters “Zi qiang bu
xi”, meaning “Self-strengthening Never Ceases”. The stone itself is well-polished with an icy,
pale celadon tone and small white inclusions and natural veining.
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Lot 3116
A Fine and Rare Hardstone Embellished
Gilt-Bronze Mythical Beast Censer
QianLong Period, 1736-1795
H 26cm.
Provenance
1. Christie's Hong Kong, 30 November
2000, lot 564
2. Christie's Hong Kong, 28 November
2005, lot 1584
Estimate:
HK$ 10,000,000-15,000,000
US$ 1,282,000-1,923,000
This mythical beast censor is made in bronze and the surface is finely gilt. The beast stands on
sharp-clawed feet with mouth agape bearing its teeth under a pointed snout and bulging eyes.
Its hollowed body supports a cylindrical funnel on its back. The body is overall richly inset
throughout with carved semi-precious stones like turquoise, jade, agate and lapis lazuli.
An identical censer from the Herbert R. Bishop collection was included in the National
Academy of Design loan exhibition in 1893. It was initially sold in the American Art Galleries,
25 January 1906, lot 2305, and sold again in Christie‟s London, 15 June 1999, lot 105. It is
possible that the Bishop censer was the pair to the present censer.
Lot 3038
A Fine and Rare Lavender-Blue Glazed
Mallow-Form Cupstand
YongZheng Period, 1723-1735
D 14cm.
Estimate:
HK$ 3,500,000-4,500,000
US$ 448,700-576,900
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This cupstand is well moulded as a mallow flower with the furled edges of the six overlapping
petals alternately barbed and gently incurved. The raised centre is also moulded with a Shou,
Longevity, character carved in crisp relief. The underside base has six minute spur marks evenly
spaced around the recessed ring bearing the reign mark in double circles. The present cupstand
appears to be unique. Only a similar example can be found in Christie‟s Hong Kong, 28
November 2012, lot 2308.
Lot 3039
A Copper-Red Glazed Garlic-Neck Bottle
Vase
YongZheng Period, 1723-1735
H 28.5cm.
Estimate:
HK$ 2,800,000-3,800,000
US$ 359,000-487,200
With bulbous body rising to the slender neck which terminates in the garlic head-shaped mouth,
covered all over in a copper-red glaze. The crushed-raspberry tone of the copper-red glaze, as
beautifully shown in the present vase, is in continuation of the copper-red glaze re-introduced during the Kangxi reign and inspired by the copper-red glazes used in the early Ming dynasty,
during the reign of the Xuande emperor. The form follows on that used during the preceding
Yongzheng reign, as can be seen in a lazurite blue glazed vase, Yongzheng seal mark and of the
period, from the Qing Court Collection, illustrated in The Complete Collection of the
Treasures of the Palace Museum: Monochrome Porcelain, Shanghai, 1999, pl.194 and a closely
related example, Dongzheng Bejjing, 18 May 2014, lot 555.
Compare two 18cm garlic-neck bottle vases, Yongzheng seal mark and of the period, were sold
in Sotheby's Hong Kong, 4 May 1994 and Poly Beijing, 5 June 2010, lot 4826 respectively.
Some related examples of monochrome-glazed garlic-neck bottle vase, mostly come with
Qianlong seal mark and of the period, which was sold at Bonhams Hong Kong on 29 November
2016, a copper-red-glazed one, lot 4; another two guan-type-glazed garlic-neck bottle vases
were sold in Dongzheng Auction, Beijing, 20 November 2014, lot 265 and Poly Beijing, 26 July
2011, lot 84 respectively.
23
(II) In Pursuit of the Past – A Selection of Archaic Bronze Wares and
Ceramics
Lot 3206
A Fine and Rare Bronze Ritual Wine
Vessel and Cover, You
Early Western Zhou Dynasty, 11th -10th
century B.C.
H 34.9cm.
Provenance:
1. Christie's New York, 1 June 1990, lot
41
2. Christie's New York, 19 September
2013, lot 1107
Estimate:
HK$ 5,800,000-6,800,000
US$ 743,600-871,800
Lot 3207
A Rare Archaic Bronze Ritual „Beast‟
Vessel, FangYi
Shang Dynasty, 1600-1046 B.C.
H 20.3cm.
Estimate:
HK$ 3,000,000-5,000,000
US$ 384,600-641,000
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Lot 3223
A Sancai Phoneix-Head Ewer
Tang Dynasty, 7th-10th century
H 31.5cm.
Estimate:
HK$ 2,200,000-3,000,000
US$ 282,100-384,600
(III) A Fine Selection of Early Chinese Ceramics
Lot 3322
A Carved Ding "Dragon' Dish
Northern Song Dynasty, 10th-12th century
H 7.4cm. D 29.3cm.
Estimate:
HK$ 4,500,000-6,500,000
US$ 576,900-833,300
This season, the Jewels and Prestige Collections department presents a variety of precious
gemstones, finest jadeites, prestigious watches, antique timepieces, rare and limited edition Hermès handbags, wine and whisky collectibles.
Jewels and Prestige Collections
25
(I) Magnificent Jewels
Celebrating the 5th anniversary of Poly Auction Hong Kong, the Department of Jewels and
Prestige Collections presents a selection of fine gemstones and exquisite jewels. In the past four
years, the Important Jewels department not only has had increasing sales results, but also
presented itself as a new key player in the market for Chinese jadeite. Apart from diamond and
colored gemstones, it takes its advantage of the company‟s Chinese background and heritage
and set a new world auction record for a jadeite pendant necklace.
Lot 2115
An „Imperial Jade‟ Jadeite Beads and
Diamond Necklace
Composed of fifty-five graduated translucent
Imperial Jade jadeite beads of intense
emerald green color, completed by a clasp
set with a cushion-shaped diamond weighing
5.03 carats, mounted in 18K white gold,
jadeite beads measuring approximately 8.66-
12.13mm, 60.0cm long
Accompanied by an Appendix to Report
No. 17011046 titled „A gift of the Land from
the Lord‟
Estimate:
HK$ 48,000,000-68,000,000
US$ 6,153,800-8,717,900
On the contrary to common perception, the color of jadeite can actually cover the whole color
spectrum, from red to violet with different intensities. Even the most well-known green comes
in a wide range of hues and saturations. Color is also the most important quality factor affecting a piece of jadeite's value, with the other two factors being texture and transparency.
The finest-quality jadeite, with its virtues displayed in these fifty-five flawless and perfectly
matched beads, is almost transparent with a vibrant emerald-green color. It is known as
“Imperial Jade” as identified by Gubelin geminology lab in its gem report. The color is pure and
penetrating, a vivid hue with no hint of gray that looks bright and intensive even from a distance.
The best jadeite is semitransparent – the text you can read through it would be slightly blurred.
With light entering and penetrating below the surface of the stone, semitransparent jadeite like
this display an alluring brilliance. It almost appears to glow, intensifying the charm of the lush
green color even further.
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Back in imperial China, the royal court China once had a standing order for all available material
of this kind. Ownership of Imperial Jadeite was reserved only for the Emperor family. In
modern history, jadeite had accompanied the First Lady of the Republic of China, Soong Mei-
ling, to many occasions, as the best compliment to her grace and elegance.
Lot 2074
A World Exclusive Set of 65.55 and
85.41 Carat Colombian Emerald and
Diamond Bracelet and Necklace, By
Harry Winston
Estimate:
HK$ 24,000,000-36,000,000
US$ 3,077,000-4,615,400
The necklace is set with a classic octagonal step cut emerald weighing 85.41 carats, a legendary
size even for the most experienced gemstone connoisseurs. The characteristic pure green hue
is so mesmerizingly deep yet lively. The matching bracelet is also set with a similar quality
emerald of 65.55 carats with evenly distributed color throughout. All set in the signature style of Harry Winston with diamonds weighing altogether 124.97 carats.
During the extreme complex and violent processes of geological formations, rare crystallization
processes of otherwise unrelated earthly elements occur. Due to this complexity of emerald‟s
forming condition and process, it is very rare for emerald to appear as large and clear
formations. They tend to have inclusions of many forms and fissures. The liveliness they
represent is even romantically described by gemologists as “Garden”. This symbol of prosperity,
life and rebirth is perfect represented and complimented in the Harry Winston sparkle it truly
deserves.
Lot 2131
A Highly Important Set of Burmese Ruby
and Diamond Jewelry, By William
Goldberg
Composed of thirty-four graduated oval-
shaped rubies, spaced by thirty-four Ashoka-
cut diamonds, rubies altogether weighing
71.76 carats, diamonds altogether weighing
38.05 carats, with a pair of matching ear
pendants and „pigeon‟s blood‟ ruby ring en-
suite, ear pendants rubies weighing 5.64 and
5.01 carats respectively, ring ruby weighing
10.03 carats, all mounted in platinum and 18K
27
yellow gold, necklace 41.5 long, ear pendants
2.3cm long, ring size 5 ½.
Also accompanied by 37 GIA and 10 IGI
diamond reports
Estimate:
HK$ 26,000,000-36,000,000
US$ 3,333,300-4,615,400
The name “ruby” comes from “ruber”, Latin for red. Over hundreds of years and across
cultures, it has becoming a symbolism for passion, lust, and power. It can command the highest
per-carat price of any colored stones. It has been recognized globally that Burma (Myanmar)
produces the best quality rubies in the world, with over thousands of years of history, and
continues to maintain its place in the world market.
The most significant factor in determining a ruby‟s value is its color. The best color is that of a
pure hue combined with strong saturation. The color must be without significant brown,
orange or purple hues, and be neither too dark nor to light. Burmese ruby‟s chemical
composition typically contains chromium; this causes the fiery red color to be further enhanced
by a red fluorescence under UV rays – sunlight and most lighting conditions. Every gemstone
has its unique internal environment. It is its own testimony to the secrets deep down under the
Earth. Inclusions are expected to exist in rubies, such as needles and small crystals. Some
inclusions can make a positive contribution to ruby‟s appearance. The typical inclusion of
Burmese rubies, rutile silk, can cause light to scatter across the body of the gem, thus creating a
more vivid color and a distinctive texture.
Beyond the technical specifications of this exclusive and patented cut comes an interesting story
about the name ASHOKA. It is only fitting that a diamond of legend bears the name of the
revered spiritual and enlightened ruler, King Ashoka of India. His name means „removal of
sorrow‟ and throughout his rule was known as the Emperor of Emperors. Today, ancient pillars
carved with his edicts still stand, bearing silent witness to his reverence for life, tolerance,
compassion and love for peace. They tell of a remarkable leader who treated his subjects as
equals, regardless of their religion, politics or caste. The ASHOKA® diamond is a stunning
affirmation of William Goldberg‟s vision – extraordinary, exquisite and filled with joy.
(II) Important Watches
To commemorate the 5th anniversary of Poly Auction Hong Kong, the Important Watches
section proudly presents a series of rare and highly cherished luxury timepieces, including the
Grand Complications from Patek Philippe, such as 5101P 10 days power reserve tourbillon,
5078P Platinum Minute Repeater, and three 5271P Perpetual Calendar with Diamond, Ruby and
Emerald set, most of the Patek Philippe watches are in factory sealed condition. We also have
28
other prestigious watches. Poly Auction Hong Kong is looking forward to offering a selection of
attractive watches to the collectors.
Lot 2357
Patek Philippe
A very fine and rare platinum automatic
wristwatch with Cloisonné Enamel Dial depicting
native Indian on horse, in factory single sealed
Native Indian on Horse, Ref. 5077P-058, CIRCA
2010
With Patek Philippe Certificate of origin and
presentation box
Estimate:
HK$ 850,000-1,200,000
US$ 109,000-153,800
Patek Philippe Ref. 5077 is a classic series with exquisite and delicate cloisonne enamel painting
that is guaranteed to bring endless surprises to watch collectors year after year. One of the
most talked about models is the Native Indian on horse model 5077P-058.
This special timepiece – Native Indian on horse has an enamel dial with a 0.1mm ultra-thin gold
outlines on the edges of the patterns, created with a variety of enamel powders smelted
together multiple times to achieve the final design. The design portrays a spirited Indian sitting
on a horse roaming through the open plains. To match the design display, the minute and
second hand on the dial have been shaped into feathers like the ones worn by the Indian.
The watch is beautiful on the outside and near perfection on the inside, receiving a Geneva
mark. Due to the complexity of the enamel patterns, richness in color variety and intricate
movement engineering, this watch has become a collector‟s favorite upon its release in 2010
Baselworld. There are only a few number of this model still existing on the market, with single-
sealed and untouched condition, making this timepiece a collectible.
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2309 Asprey A FINE AND RARE YELLOW GOLD WITH MOTHER-OF-PAERL CORAL AMETHYST AND DIAMOND-SET PAGODA FORM TROMPE L’OEIL MYSTERY QUARTZ CLOCK CIRCA 1995 Movement : Quartz movement Dial : 18K yellow gold columns applied with round diamonds, flanking a frosted glass apse centered by a pair of hands set with round diamonds, which seemingly float and give the trompe l’oeil effect of a mystery clock, hands are attached to a mirror Case : 18K yellow gold with mother-of-pearl, coral, amethyst and diamond-set pagoda-form Trompel L’oeil shape Dial and movement signed Height 185mm With Asprey Presentation Box Estimate upon request
The Grand complication 5104PR with minute repeater, perpetual calendar and skeletonized dial,
is one of the well- known classic Patek Philippe timepiece. It shocked the world in 2006 upon
its release with an ultra-complex movement coupled with clear surface and crystal glass as dial,
displaying the intricate movement in its full array. Due to the complexity of the movement, the
development process took a long time to meticulously create every unit in conformance with
the Geneva mark. The surface of the watch uses multiple layers of crystal glass design with a thickness of 0.2mm. The dial is crisp and elegant, displaying the perpetual calendar, month and
minute functions respectively. The casing is coupled with rose gold, engraved with elegant
embellishment.
The development of this special timepiece PP5104PR is extensive and rigorous, making it
extremely rare on the market and an ultimate collectible.
30
Lot 2097
A World Exclusive Pair of Corum Jadeite
and Diamond Bracelet Watches, By
Wallace Chan
Mechanical movement, pave jadeite dial with
diamond-set roman numerals white gold
square-shaped case, bezel set with diamonds,
jadeite crown to a bracelet decorated by
translucent emerald green color jadeite plaque,
the other similar design, both mounted in 18K
white gold, length approximately 20.5cm and
18.0cm
Estimate:
HK$ 1,800,000-2,600,000
US$ 230,800-333,400
Wallace Chan, he is the artist with extraordinary creativity, passion, a philosopher‟s way of
thinking, and a craftsman‟s superior technique. Grew up in Hong Kong, Wallace Chan spent his
early youth mastering Eastern sculpture and the Western art of gemstone making. After twenty
years of sculpting work, he hit the road to Europe to indulge in the art world of the Continent.
Over the years, Wallace Chan has also been invited by museums and galleries from all over the
world to exhibit his exquisite fine jewelry art. He keeps making breakthroughs and innovations,
making impossible possible. His jewelry art is one of limitless creativity and endless surprises.
In 2004, recognizing his genius with the ancient gemstone, Corum commissioned Mr. Chan to
apply his patented Jadeite Luminosity Enhancing Technology to create this unique pair of jadeite
wristwatches in the world.
Applying jade in contemporary jewelry design gives it a sense of modernity. Thin slices of
transparent green jade plate the wrist band and the face plate of the watch. These glowing
green rectangles truly captivate the eye. As light spans across the imperial jadeite, a pure and
penetrating green with an alluring brilliance appears as if it is fluttering in the sunlight.
(III) Noble Handbags and Accessories
The highlights of this auction include an extraordinary Himalayan niloticus crocodile handbag, a
matte SO BLACK niloticus crocodile Birkin 30 and limited edition shiny cassis, bleu tempête
and bleu izmir niloticus crocodile tri-colour constance, which will certainly arouse a keen
competition between collectors and luxury lovers.
31
Lot 2717
Hermès, 2016
An extraordinary Matte Himalayan
Niloticus crocodile Diamond Mirkin 30
with 18k white gold & diamond
hardware
Accompanied with original Box and
Certifications.
L.30 x H.20 x D.15cm
Condition Report Grade 1
Estimate:
HK$ 1,500,000-2,000,000
US$ 192,300-256,400
Lot 2645
Hermès 2010
A rare matte SO BLACK Niloticus crocodile
Birkin 30 with black hardware
L.30 x H.20 x D.15cm
Condition Report Grade 1
Estimate:
HK$ 450,000-650,000
US$ 57,700-83,300
32
Lot 2628
Hermès 2014
A limited edition shiny cassis, bleu
tempête & bleu izmir Niloticus crocodile
tri-color CONSTANCE 18 with
palladium hardware
L.18 x H.14 x D.6cm
Condition Report Grade 1
Estimate:
HK$ 250,000-350,000
US$ 32,100-44,900
(IV) Prestige Collections
Celebrating the 5th anniversary of Poly Auction Hong Kong this year, the Department of
Prestige Collections proudly presents a selection of fine whisky and red wines, which a series of
rare and valuable limited wine edition will be the highlight for this section, offering an
opportunity for collectors to enjoy the glorious moments that come with these wines.
In the past four years, the Prestige Collection section have presented a variety of collectible of
utmost quality, including the Macallan 18 Year Old Whisky Collection from 1962 to 1986, first
edition of Yamazaki 50 and a complete set of Hanyu Ichiro‟s limited Playing Card Series. This
year, the highlight goes to the Karuizawa Noh Whisky and Château Mouton Rothschild Vertical
Tasting Collection from 1945 to 2013, which are all high sought after by collectors.
33
Lot 1893
Karuizawa 53 – 1960
53 Years Old Single Malt
Distilled 1960 Bottled 2013
Cask Number 5627 1 of 41 bts
ABV51.8% 700ml 1 bt
Estimate:
HK$ 950,000-1,200,000
US$ 121,800-153,800
Lot 1835
Karuizawa-Noh
200ml x 2bts
700ml x 29bts
Estimate:
HK$ 1,250,000-1,600,000
US$ 160,300-205,300
Lot 1638
Petrus Vertical 1970-2012
France Bordeaux-Pomerol
750ml 42 bts
Estimate:
HK$ 1,200,000-1,700,000
US$ 154,000 -218,000
34
For high-resolution photos:
https://www.dropbox.com/sh/1qy64gth1yhmq8f/AADEHqZ9Dmlf7CsgVS9yTnb6a?d
l=0
Editor’s Note :
Poly Auction – Spring Auctions 2017 (For reference only. Further notice of changes will be distributed)
Preview:1-3/4/2017
Auction: 2-4/4/2017
Venue: Grand Hyatt Hong Kong (1 Harbour Road, Hong Kong)
Media Contact:
Poly Auction HK – Jessica Chen 2303 9892 [email protected]
Poly Auction HK – Randy Tung 2303 9857 [email protected]
Poly Auction HK – Fatima Lam 2303 9891 [email protected]
Trinity International Limited – Jackie Liu 3583 3300 [email protected]
Date Time Lot
2nd April 2:00pm Fine Wine and Whisky
3rd April
10:00am
1:30pm
1:30pm
4:00pm
5:00pm
Fine Chinese Paintings and Calligraphy [I] Fine Chinese Paintings and Calligraphy [II]
Magnificent Jewels
Glossiness of Uncarved Jade – Special Auction of Cui Ruzhuo
[VIII]
Chinese and Asian Modern and Contemporary Art
4th April
10:30am
11:30am
Postpone
1:00pm
3:30pm
Chinese Ceramics and Works of Art
In Pursuit of the Past – A Selection of Archaic Chinese Bronze
Wares and Ceramics
A Fine Selection of Early Chinese Ceramics
Important Watches
Noble Handbags and Accessories
35
About Poly Auction Hong Kong
Poly Auction (Hong Kong) Limited (Poly Auction Hong Kong), established in 2012 by Poly
Culture Group Corp. Ltd., is a young but remarkable auction house in Hong Kong and the Asia
Pacific region. Beijing Poly International Auction, a subsidiary of Poly Culture Group Corp Ltd.,
is China’s largest state-owned auction house and holds the highest auction transaction volume
of Chinese art in the world.
Poly Auction (Hong Kong) comprises of seven departments: Chinese and Asian Modern and
Contemporary Art, Chinese Contemporary Ink Paintings, Fine Modern Chinese Paintings and
Calligraphy, Classical Chinese Paintings and Calligraphy, Chinese Ceramics and Works of Art,
Jewels and Watches and Chinese and Western Wine. We select only genuine, exquisite and
rare artwork. We are entering the international art market with the aim to provide
professional consultation, exceptional collections and the highest quality service. Poly Auction
has a global network of offices, including Hong Kong, Beijing, Shanghai, Macao, Xiamen,
Shandong, Taipei, Tokyo, New York, San Francisco, Los Angeles, Sydney and Melbourne.
Offical Website: http://www.polyauction.com.hk
WeChat account: polyauction – hongkong
For enquiries, please contact Miss Jackie Liu at +852 3583 3300 or email to [email protected].
Distribution by Trinity International Limited on behalf of Poly Auction Hong Kong
Tel: +852 3583 3310 – Fax: +852 3583 1331 – Website: www.3trinity.hk
Email: [email protected]