Marchant

05/10/2026

Join Lee Young of Dore & Rees and Stuart Marchant in a four-part conversational series as they discuss key jade highlights from the upcoming Fine Asian Art sale at Dore & Rees, selling on Monday 9th November.

Part 2: Two fine jades from the collection of Ian Rutherford, previously published by Marchant.

Viewing dates & times at Marchant:
Sunday 1st November: 12:00 pm – 5:00 pm
Monday 2nd November: 10:30 am – 5:00 pm
Tuesday 3rd November: 10:30 am – 4:00 pm

Viewing dates & times at Dore & Rees:
Friday 6th November: 10:00 am – 4:00 pm
Saturday 7th November: 10:00 am – 4:00 pm
Sunday 8th November: 10:00 am – 4:00 pm

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诚邀您观赏由 Dore & Rees 的Lee Young与Stuart Marchant带来的四集对话系列视频。他们将共同探讨 Dore & Rees 即将于 11 月 9 日（星期一）举行的“中国宫廷艺术及东方艺术”拍卖会中的重点玉器拍品。

第二集： 两件精美玉器，出自伊恩·卢瑟福（Ian Rutherford）旧藏，此前曾由马钱特（Marchant）出版。

Marchant预展时间：
11 月 1 日（星期日）：中午 12:00 – 下午 5:00
11 月 2 日（星期一）：上午 10:30 – 下午 5:00
11 月 3 日（星期二）：上午 10:30 – 下午 4:00
Dore & Rees 预展时间：
11 月 6 日（星期五）：上午 10:00 – 下午 4:00
11 月 7 日（星期六）：上午 10:00 – 下午 4:00
11 月 8 日（星期日）：上午 10:00 – 下午 4:00

02/10/2026

Join Lee Young of Dore & Rees and Stuart Marchant in a four-part conversational series as they discuss key jade highlights from the upcoming Fine Asian Art sale at Dore & Rees, selling on Monday 9th November.

Viewing dates & times at Marchant:
Sunday 1st November: 12:00 pm – 5:00 pm
Monday 2nd November: 10:30 am – 5:00 pm
Tuesday 3rd November: 10:30 am – 4:00 pm

Viewing dates & times at Dore & Rees:
Friday 6th November: 10:00 am – 4:00 pm
Saturday 7th November: 10:00 am – 4:00 pm
Sunday 8th November: 10:00 am – 4:00 pm

Part 1: A fabulous Qianlong period spinach jade boulder from the collection of Anthony John Lippett, originally purchased from Spink & Son.

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诚邀您观赏由 Dore & Rees 的Lee Young与Stuart Marchant带来的四集对话系列视频。他们将共同探讨 Dore & Rees 即将于 11 月 9 日（星期一）举行的“中国宫廷艺术及东方艺术”拍卖会中的重点玉器拍品。
Marchant预展时间：
11 月 1 日（星期日）：中午 12:00 – 下午 5:00
11 月 2 日（星期一）：上午 10:30 – 下午 5:00
11 月 3 日（星期二）：上午 10:30 – 下午 4:00
Dore & Rees 预展时间：
11 月 6 日（星期五）：上午 10:00 – 下午 4:00
11 月 7 日（星期六）：上午 10:00 – 下午 4:00
11 月 8 日（星期日）：上午 10:00 – 下午 4:00

第一集： 精彩绝伦的清乾隆碧玉山子，出自安东尼·约翰·利佩特（Anthony John Lippett）旧藏，曾购自斯宾克父子行（Spink & Son）。

01/10/2026

In imperial China, monochrome ceramics were far more than minimalist aesthetic choices - they were political statements, cosmological tools, and badges of status.

From imperial yellow reserved strictly for the Emperor to sacrificial blues and reds, monochrome glazes were governed by Wuxing (Five Elements) cosmology theory, as well as strict court etiquette and laws that dictated which rank or ritual could use a given colour.

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帝王时代的中国｜单色釉瓷器

在帝王时代的中国，单色釉瓷器远不止是对简约美学的追求——它们更是皇权、宇宙观、礼制与社会等级的物质体现。

从与帝王权威密切相关的宫廷黄，到用于国家祭祀的蓝色，单色釉的色彩体系深受阴阳五行学说影响，同时亦受到严格宫廷礼制与等级制度的规范，不同身份与礼仪场合对应着特定的色彩。

➡️ 向左滑动，透过 Marchant 臻选的清代御制瓷器，探索黄、白、红、蓝与青釉背后的文化意涵与象征意义。



💛YELLOW: THE EMPEROR’S EXCLUSIVE
Imperial yellow was strictly forbidden for common use, representing earth, the centre, and the unique majesty of the Son of Heaven. Specific yellow shades were reserved for the Emperor and high-ranking consorts.

Featured Object: Exquisite Chinese imperial porcelain yellow-glazed two-handled w**e cup, erbei, with anhua dragon design. Kangxi mark and of the period, 1662-1722.
Marchant inventory no. M5253

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💛 黄｜皇权之色

在五行体系中，黄色对应土与中央，并逐渐与皇权及天子的尊贵身份紧密相连。明清时期，宫廷对于黄色瓷器的使用有着严格的规定，特定色调的黄色更专属于皇帝及皇室成员。

展品：
清康熙 御制黄釉暗刻龙纹双耳杯（耳杯）
“大清康熙年制”款
康熙时期，1662–1722年
Marchant 编号：M5253

**ecup

🤍WHITE: PURITY AND MOURNING
Pure white was essential for ancestral veneration and mourning rituals. The ‘Sweet White’ (Tianbai) glaze of the Ming period was legendary, and Dehua porcelain was often left unpainted to highlight its pristine body.

Featured Object: Very fine and rare Chinese imperial porcelain sweet white-glazed beehive-form waterpot, taibaizun, with molded and carved with dragon and phoenix medallions.
Kangxi mark and of the period, 1662-1722.
Marchant inventory no. M5388

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🤍 白｜纯净与礼仪

白色在中国传统礼仪与丧葬文化中占有重要地位。明代著名的甜白釉（天白釉）以晶莹纯净的釉色著称，而德化白瓷则常以素面呈现，使细腻如象牙般的白色胎质得以充分展现。

展品：
清康熙 御制甜白釉模印暗刻龙凤纹太白尊
“大清康熙年制”款
康熙时期，1662–1722年
Marchant 编号：M5388



♥️ RED: CORAL AND SACRIFICIAL HUES
Red has long symbolised vitality, warmth and auspiciousness in tra

30/09/2026

Important Chinese Jade Carving of a Deer, Fawn, and Lingzhi

Qing Dynasty, Qianlong Period (1736–1795)

Just arrived: A superb and masterfully rendered jade group portraying a spotted deer alongside a young fawn.

The piece, presented by Stuart, displays exquisite detail, notably the stars carved in low relief across the deer’s coat.

Laden with traditional iconographic meaning, the deer (lu) serves as a dual symbol for official prosperity (lu) and longevity. Paired with its fawn, it conveys wishes for generations of good fortune.

The composition is further enhanced by branches of prunus—emblematic of endurance and spring—and lingzhi fungus, the quintessential emblem of immortality.

Provenance:
Collection of Sir William Younger, 1st Baronet (1862–1937), Auchen Castle.

中文版本（简体）
清乾隆 雅玉雕梅花鹿母子同春衔灵芝佩件/摆件
清乾隆时期（1736–1795年）
新品上架： 此件玉雕极为精美，雕工精湛绝伦，生动展现了一对梅花鹿母子（或“母子鹿”）。母鹿身躯雕刻有细腻的梅花星斑，极其考究。
作品寓意极为丰富深远：鹿（谐音“禄”）象征着高官厚禄与福寿绵长；母子鹿相伴，寄托着世代绵延、福泽后代的美好祝愿。鹿口衔或身旁伴有梅花枝（象征坚忍不拔与迎春生机）及灵芝（象征长生不老与吉祥如意），组合成极其吉庆的“福禄寿春”传统图景。
显赫传承：
威廉·扬格爵士（第一代从男爵，1862–1937年，奥肯城堡）旧藏。

25/09/2026

May the glow of the moon light your way to happiness and reunion. 🌕✨ Happy Mid-Autumn Festival to all from Marchant!

In the spirit of sharing and harmony, we present a rare 17th-century Chinese blue and white ‘Kosometsuke’ confectionery basket, its graceful handle arching over an offering of mooncakes.

Made specifically for the Japanese tea ceremony market, it was designed for serving sweet treats just like these.

Each mooncake bears the traditional design of the rabbit and the full moon, a symbol of hope and longevity. 🥮🐇

We hope your festival is bright and filled with joy and wish you Zhōngqiū Jié!



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愿月光为您照亮通往幸福与团圆的道路。🌕✨ Marchant Asian Art 祝大家中秋节快乐！

秉持着分享与和谐的精神，我们呈献这一款珍稀的十七世纪中国青花“古染付”果篮，其优雅的提手如虹般跨越在一盘月饼之上。每一块月饼上都印有传统的玉兔与满月图案，象征着希望与长寿。🥮🐇

祝愿您的节日光明璀璨，充满欢乐。

Chinese porcelain blue and white cake basket with upright flat sides and strap handle, painted on the interior with four horses amongst grass, the exterior painted with branches of fruiting pomegranates, the upright handle with a flowerhead and scrolling branch.

7 1⁄4 inches, 18.5 cm across.

Tianqi, 1621-1627.

Edo Period Japanese wood box.

*Sold by Ikemasa & Co., Tokyo, 8th February 2014.
Included by Christie’s New York in their auction of Fine Chinese Ceramics and Works of Art, 22nd March 2019, lot 1639.
*Included by Marchant in their exhibition of Kosometsuke & Shonzui, 2024, no. 14, pp. 48/49.

inventory no. M3503 - see website for more photos, further information and price.

We couldn’t resist…in situ 🥮🍵 (AI generated - as are the moon cakes, though they do look tasty!)

22/09/2026

18/09/2026

To commission an object for eternity was to demand the most elaborate iconography of the day.

While imperial Song taste leaned toward quiet minimalism, large-scale funerary commissions allowed regional ceramicists to display incredible sculptural ambition, embracing popular, expressive, and narrative folk artistry - utilizing dynamic appliqués, local folklore, and taoist/celestial iconography to create grand, theatrical statements for regional elites.

Standing at a monumental 95.5 cm, this rare pair of 13th-century qingbai (yingqing) storage vases exemplifies the dramatic, expressive power of Southern Song ritual ceramics.

Every element of their complex cosmological world was individually hand-molded and applied prior to firing. A procession of twelve standing figures and a kneeling devotee encircling the body; a high-relief dragon writhing amidst cloud sprays toward a celestial pearl, surrounded by deer, horses, qilin, and cranes; finely modeled cranes, symbolizing longevity and the soul’s ascension.

Draped in a luminous pale blue glaze that pools in the deeply carved appliqués, these grand-scale vases remain extraordinary examples of Song ceramic sculpture and ritual art.

Southern Song dynasty (circa 1220).
95.5 cm (largest with cover).
* Collection of Baroness Rawlings, Adlington Hall, Cheshire & Eton Square, London.
Marchant inventory no. M5798
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16/09/2026

Dating to late Ming dynasty (c. 1640), this exceptional Blanc de Chine incense burner takes its form from an ancient bronze gui.

Made in Dehua, Fujian province, it features mythical animal-head handles, delicate taotie masks, and a cloud-and-flower band beneath a rich, creamy glaze.

Its distinguished provenance includes the esteemed collection of diplomat Dr Wou Kiuan (1910–1997) and inclusion in Marchant’s 2024 exhibition, with close published parallels in the Palace Museum, Beijing and Chicago’s Field Museum.

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从古代青铜器到凝脂白瓷：这件约1640年的明代德化白釉（Blanc de Chine）簋式香炉，巧妙借鉴了上古青铜簋的造型。通体施以温润如脂的奶白釉，兽耳生动，饰有饕餮纹与云纹，将金石之气融入瓷艺之中。

本品出自著名外交官伍权博士（Dr Wou Kiuan，1910–1997）旧藏，并曾展出于Marchant 2024年德化白瓷特展。故宫博物院及芝加哥菲尔德自然历史博物馆均藏有类似作品。

11/09/2026

From a 17th-century kiln to modern AI movement: this large Shunzhi/early Kangxi dish (c.1655-1665) features a qilin beneath the moon amidst plantain, swirling flames and rockwork.

Painted with incredibly luminous underglaze blue pigment intensity and finished with a classic brown-dressed rim, it represents the absolute peak of mid-17th-century porcelain painting.

Measuring an impressive 34.6 cm, it also boasts a rich provenance, passing through Spink & Son, Ralph M. Chait Galleries, and the famed Jie Rui Tang Collection - with similar examples in the Palace Museum and Ashmolean. It even has a collectors mark incised da zhai (Grand Hall) to the base.

What detail draws you in first - the vivid qilin or the deep blue tones?

从17世纪的窑火到现代AI的灵动：这件顺治/康熙早期（约1655–1665年）的青花大盘，描绘了月下芭蕉、火焰与山石之中的麒麟形象。作品采用发色极其明艳的青花料绘制，配以经典的酱釉口沿，代表了17世纪中期瓷器绘画的巅峰之作。

本品口径达34.6厘米，体量宏大，更兼具显赫流传。曾经Spink & Son、Ralph M. Chait Galleries以及著名的“洁蕊堂”（Jie Rui Tang）等名家收藏，故宫博物院及阿什莫林博物馆亦藏有类似之作。盘底更带有珍贵的藏家刻款。
底足刻“大宅”藏家款。

最吸引您的细节是什么——是生动的麒麟，还是深邃浓艳的青花色调？

09/09/2026

Further to Stuart’s recent video, Samuel has discovered the true - and highly important provenance for the spinach jade buffalo - including Royalty, a famous collector and having been handled by very well-known Japanese dealers! Watch this update for the new information about this wonderful piece in our gallery.

We always do as much research on provenance as possible, but thanks to Samuels eager eye - he noticed a discrepancy with the collection label and investigated it!

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继 Stuart 近期发布的视频之后，Samuel 又有了一项重要发现—这尊碧玉水牛的真实来源，远比此前所知更为重要。

经进一步考证，其递藏经历涉及皇室、著名私人藏家，以及日本数位享有盛誉的中国艺术品古董商。如此重要且流传有序的来源，为这件精美碧玉雕刻增添了更为丰富的历史背景与收藏价值。

敬请观看我们的最新视频，了解这件现藏于我们伦敦画廊的珍贵作品，以及其来源背后的最新发现。

我们一向致力于尽可能深入地考证每一件器物的来源。此次发现，则源于 Samuel 敏锐的鉴藏眼光—他注意到收藏标签上的一处细微出入，并进一步展开调查，由此揭开了这尊碧玉水牛一段此前未被充分认识的重要收藏史。