The compressed body is raised on three cabriole legs. Glaze is of a rich thick blue color with a characteristic splash of purple on the body. The mouth rim engorged in an elegant fashion.

Each side carved in relief with a field of comma spirals set within narrow, raised borders, the translucent stone and of even yellow tone and finely polished.

Well casted, represented standing atop a rectangular base. Dressed with a robe, secured by a tasseled cord joined at the chest. Both arms in from with hands joined at the waist. Has a round face with a stern expression. All visible body parts (head, hands and feet) gilded. The rest of the figure includes a brown-reddish patina.

Milky white carved jade. Depicts Wang Xizhi (303-361 AD), one of China’s most celebrated calligraphers and favorite of Qianlong Emperor. Qianlong Seal found on the bottom of the carving. Gentle expression in the face, relaxed posture with goose beside him. Wang had a fondness for the animal and the carving serves as a reflection of enjoyment with the symbolic association of the goose and Wang, coupled with the contentment embodied in the posture.

Gently carved with delicate details of fish scales, horse hoofs and a lion’s main. Old inventory number present on the bottom.

Qianlong six characters mark in under glaze blue and of the period. Of round shape, the porcelain of a white tone visible at the foot rim and covered all over the body with a rich purplish color containing variations from blues to reds, typical of the 18th century flambé. The silver stopper enclosing with a green glass bead.

Heavily carved jade with Taotie masks on both sides, two handles in the shape of stylized qi longs and elevated on a circular foot. The stone is of an opaque beige tone turning to brown and black variations inside of the censor and on one of the handles. Old inventory number at the bottom and auction number on the side. From the collection of Jacques Poberejsky (1885-1949)

Xuande 6 character Mark on bottom of censor. Finished with a brown patina. Carved wood base and cover.

Jun kilns, Henan province. Porcelain of an oval shape, the rimmed mouth lightly detached from the body. The vessel is standing on a thick unglazed circular foot showing the white creamy color of the porcelain. The glaze is of light blue color with a very slight purplish tint on the outside protruding from the lip, falling into large drops towards the bottom of the vessel.  The body covered throughout with a very fine and subtle web of cracks and very tiny bubbles, both from firing technique.

Qianlong four-character mark painted in red and of the period. The bulbous body painted on each side with a lobed cartouche enclosing a gilt Arabic inscription against a blue ground reading  “La illah il Allah” on one side and “Muhamad rasul ullah” on the other side. This may be translated as 'There is no God but Allah, Muhamad is his prophet. Delicate lotus flowers on leafy scrolling branches against a yellow-foreground surround each facade, the bowl with two gilded handles of simple loop form, the interior enameled white with a pink flower in the well.  Whilst examples of incense burners with Islamic inscriptions are well-known especially in bronze or cloisonné, it is highly unusual to find a painted enamel piece such as the present lot, particularly with the imperial Qianlong reign mark, which leads us to think that this piece might be of imperial origin and aimed to be offered as a present from the emperor to a middle-eastern counterpart.