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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

24

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.

26

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.

29

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 jchen@polyauction.com.hk

Poly Auction HK – Randy Tung 2303 9857 rtung@polyauction.com.hk

Poly Auction HK – Fatima Lam 2303 9891 flam@polyauction.com.hk

Trinity International Limited – Jackie Liu 3583 3300 jackie@3trinity.hk

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 jackie@3trinity.hk.

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: info@3trinity.hk