Decade 1750-1759
Except otherwise stated, all results include the premium.
See also : Canaletto Chinese porcelain Qing porcelain Qianlong Bird Glass and crystal Glass <1900 Jadeite
See also : Canaletto Chinese porcelain Qing porcelain Qianlong Bird Glass and crystal Glass <1900 Jadeite
1736-1758 Brushpot in Enamel Glass
2008 SOLD for HK$ 73M by Christie's
In the 35th year of his reign matching 1696 CE, the Kangxi emperor devoted a place in the Imperial City to the enamel painting of glass vessels. This workshop was operated by Jesuits. The transparency of the glass offers the possibility of a supreme refinement but the yield is very low. The themes are often European.
The pieces produced without bubble and without crack which deserve to receive the imperial mark are almost nonexistent under Kangxi and Yongzheng. All of the items listed below have the Qianlong imperial mark. The know-how ceases to be maintained after 1758 CE.
Brushpots in enameled glass are extremely rare.
A 8.5 cm high piece with square section and canted corners was sold for HK $ 68M by Christie's in Hong Kong on November 27, 2007, lot 1665. Its buyer, the Taiwanese businessman Robert Tsao, put it back on sale in the same room on May 27, 2008 as a charity lot to help the victims of the Sichuan earthquake. It was sold for HK $ 73M, lot 1525.
A 6.1 cm high cylindrical falangcai enamel glass brush pot was sold for HK $ 49M by Christie's on November 28, 2012, lot 2124.
It is finely painted with an extended enamel palette on a translucent white glass reminiscent of the color of jade. Its slightly curved cylindrical shape is exquisite.
It features an elderly scholar inspecting a landscape hand scroll with the help of an assistant and of a young boy while the group on the other side is centered on an European in Chinese robe, possibly in reference to the role of the Jesuits in the development of the enamel painting on glass and porcelain.
An 18 cm high vase in the shape of an ovoid pouch was sold for HK $ 207M by Sotheby's on October 8, 2019. Snuff bottles are less rare. A rectangular piece 8 cm high was sold for HK $ 25.3M by Bonhams on November 28, 2011.
The pieces produced without bubble and without crack which deserve to receive the imperial mark are almost nonexistent under Kangxi and Yongzheng. All of the items listed below have the Qianlong imperial mark. The know-how ceases to be maintained after 1758 CE.
Brushpots in enameled glass are extremely rare.
A 8.5 cm high piece with square section and canted corners was sold for HK $ 68M by Christie's in Hong Kong on November 27, 2007, lot 1665. Its buyer, the Taiwanese businessman Robert Tsao, put it back on sale in the same room on May 27, 2008 as a charity lot to help the victims of the Sichuan earthquake. It was sold for HK $ 73M, lot 1525.
A 6.1 cm high cylindrical falangcai enamel glass brush pot was sold for HK $ 49M by Christie's on November 28, 2012, lot 2124.
It is finely painted with an extended enamel palette on a translucent white glass reminiscent of the color of jade. Its slightly curved cylindrical shape is exquisite.
It features an elderly scholar inspecting a landscape hand scroll with the help of an assistant and of a young boy while the group on the other side is centered on an European in Chinese robe, possibly in reference to the role of the Jesuits in the development of the enamel painting on glass and porcelain.
An 18 cm high vase in the shape of an ovoid pouch was sold for HK $ 207M by Sotheby's on October 8, 2019. Snuff bottles are less rare. A rectangular piece 8 cm high was sold for HK $ 25.3M by Bonhams on November 28, 2011.
1750 Han Cypress by the Qianlong Emperor
2010 SOLD for RMB 87M by Poly
A poem by Du Fu is about the Wu emperor of the Han. In 110 BCE in quest of immortality, he visited the Songshan mountain, dubbed as The Father of Mountains, in current day Henan province. He viewed a millenarian tree with a lush foliage and said : "I have traveled all over the world, have never seen such a big cypress !" He named it a General.
The Han emperor went further and saw two even bigger cypresses, named Second General and Third General. A folk song narrates that the oldest and tallest "Third General" died in anger because he was dissatisfied with being ranked third.
In the 15th year of his reign matching 1750 CE, the Qianlong emperor walked in the steps of his Han predecessor, enjoying a cool breeze after the rain. The two surviving trees were still standing. He dedicated an autograph drawing to the bigger Second General, then 4,500 years old, 18.2 m high and 12.5 m in circumference, arguably the largest and oldest cypress in China.
The auspicious cypress has a strange appearance with mottled bark, a thick trunk, twisted branches, and protruding galls. The roots are rotten and hollow but young leaves are swaying on the branches, full of vitality. Through his precise but slightly trembling strokes, Qianlong expresses a wish for the longevity and health of his then 58 year old mother the empress dowager.
This imperial ink on paper 58 x 29 cm is probably fully autographwas sold for RMB 87M by Poly on December 4, 2010, lot 3643.
The Han emperor went further and saw two even bigger cypresses, named Second General and Third General. A folk song narrates that the oldest and tallest "Third General" died in anger because he was dissatisfied with being ranked third.
In the 15th year of his reign matching 1750 CE, the Qianlong emperor walked in the steps of his Han predecessor, enjoying a cool breeze after the rain. The two surviving trees were still standing. He dedicated an autograph drawing to the bigger Second General, then 4,500 years old, 18.2 m high and 12.5 m in circumference, arguably the largest and oldest cypress in China.
The auspicious cypress has a strange appearance with mottled bark, a thick trunk, twisted branches, and protruding galls. The roots are rotten and hollow but young leaves are swaying on the branches, full of vitality. Through his precise but slightly trembling strokes, Qianlong expresses a wish for the longevity and health of his then 58 year old mother the empress dowager.
This imperial ink on paper 58 x 29 cm is probably fully autographwas sold for RMB 87M by Poly on December 4, 2010, lot 3643.
1751 Susana and the Elders by Batoni
2013 SOLD for $ 11.4M by Sotheby's
The Roman painter Pompeo Batoni is a follower of Guercino and a predecessor of David. His genre scenes are inspired by Baroque stories, but his painstaking drawing and color announce the classicism.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting was sold for $ 11.4M from a lower estimate of $ 6M by Sotheby's on January 31, 2013, lot 73.
Famous as a portraitist, he had a long and prosperous career and took advantage of the wealthy English customers who visited Italy.
Susanna and the Elders is a large oil on canvas, 99 x 136 cm, made in 1751 on order for a Viennese aristocrat. The action is violent and symbolizes the contrast of good and evil. The scene is beautifully situated in the grounds of a villa.
The young woman is at bath in a pool, but her textiles chastely cover her nakedness. Her bright and fresh skin is the strong point of the composition. The two assailants, one venal and the other despicable, are particularly unfriendly with their baroque old beards.
This painting was sold for $ 11.4M from a lower estimate of $ 6M by Sotheby's on January 31, 2013, lot 73.
1751 Yangcai Flower Vase
2014 SOLD for HK$ 57M by Sotheby's
The opening of the Kangxi emperor to the Western civilizations is the source of one of the best advances in Chinese ceramics, the falangcai, meaning foreign colors. The surface of the pottery is enameled over the glaze for offering a wide range of bright and saturated colors.
At the end of the reign of Yongzheng followed by the beginning of Qianlong reign, while Tang Ying is the Superintendent for Jingdezhen, the artistic creation is at its best. Two variants of falangcai are used, the yingcai in a range of colors close to the wucai of the Ming, and the yangcai that incorporates the most recent invention of the pink enamel.
On October 8, 2014, Sotheby's sold for HK $ 57M from a lower estimate of HK $ 30M a yangcai vase with floral decoration, lot 3639. 29 cm high in a nice slightly swollen pear shape, it is bearing the imperial Qianlong mark.
The background of the decor is a deep lemon yellow, similar to a piece dated from the 7th year of the reign of Qianlong. Realistic flowers in a great botanical variety are the best excuse to offer an interesting range of colors. Their enamel has been deposited on a previously incised drawing, using a technique somewhat reminiscent of the cloisonne on metal.
This piece is very rare both in its shape and its decorative theme. It is probably the survivor from a pair of vases delivered to the imperial collection in the 16th year of the reign of Qianlong, 1751 CE.
At the end of the reign of Yongzheng followed by the beginning of Qianlong reign, while Tang Ying is the Superintendent for Jingdezhen, the artistic creation is at its best. Two variants of falangcai are used, the yingcai in a range of colors close to the wucai of the Ming, and the yangcai that incorporates the most recent invention of the pink enamel.
On October 8, 2014, Sotheby's sold for HK $ 57M from a lower estimate of HK $ 30M a yangcai vase with floral decoration, lot 3639. 29 cm high in a nice slightly swollen pear shape, it is bearing the imperial Qianlong mark.
The background of the decor is a deep lemon yellow, similar to a piece dated from the 7th year of the reign of Qianlong. Realistic flowers in a great botanical variety are the best excuse to offer an interesting range of colors. Their enamel has been deposited on a previously incised drawing, using a technique somewhat reminiscent of the cloisonne on metal.
This piece is very rare both in its shape and its decorative theme. It is probably the survivor from a pair of vases delivered to the imperial collection in the 16th year of the reign of Qianlong, 1751 CE.
1752 100 Birds Vase
2021 SOLD for RMB 266M by Poly
The manufacturing process of the reticulated revolving vase was arguably the most difficult ever, with the elements being assembled after separate firing. The Qianlong emperor wisely stopped it after pairing the last additional pieces to the production from the first batches.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
Asking Grok to compare the Qianlong reticulated revolving vase sold by Poly on June 7, 2021, lot 5153 with the example whose sale at Bainbridges in 2010 has been cancelled. Compare their estimated dates of execution.
Overview
Both vases are exceptional examples of imperial Qing dynasty porcelain, specifically reticulated revolving (or rotating) types produced at the Jingdezhen kilns. These innovative designs, featuring an outer pierced (reticulated) shell that allows the inner rotating vase to be viewed through intricate openwork, were developed in the 1740s primarily to delight Emperor Qianlong (r. 1736–1795). They combine technical virtuosity—such as interlocking parts and multi-layered enameling—with auspicious symbolism, making them among the rarest and most prized Chinese ceramics. Only a handful of such vases survive in museum and private collections.
The Poly vase (lot 5153, sold June 7, 2021, at Poly International Auction Co., Beijing) fetched a world-record RMB 265.7 million (US$41.6 million), underscoring its status as a pinnacle of Qianlong craftsmanship. The Bainbridges example (offered November 11, 2010, at Bainbridges auction house, Ruislip, UK, as lot 800) achieved a hammer price of £43 million (approx. £53.1 million including premium), but the sale was cancelled due to the buyer's refusal to pay the auction house's 20% fee; it later sold privately for around £25 million in 2013.
While both share the Qianlong reign mark and period attribution, they differ in decoration, form, and specific provenance details.
Detailed description
Poly Vase (Lot 5153, 2021)
Description & Form
Four-piece construction: ruby-ground outer reticulated shell with carved openwork depicting phoenix scenes amid foliage and landscapes; inner baluster-form rotating vase with painted figural elements visible through the lattice; elegant tapering neck with archaistic kui dragon handles; overall height approx. 40–45 cm (estimated from images and comparables).
Decoration & Technique
Yangcai (foreign enamels) palette on ruby ground; intricate carved openwork (reticulation) for light transmission; revolving mechanism reveals inner scenes; combines reticulation, interlocking, and rotation—extremely rare fusion. Symbolism evokes imperial auspiciousness (phoenix for prosperity).
Provenance & History
Acquired by a veteran collector in 1999; exhibited in Poly's "Qianlong Palace Art" show prior to sale. No earlier imperial palace links documented publicly.
Auction Outcome
Sold successfully to an undisclosed buyer; set record for most expensive ceramic ever auctioned.
Rarity & Significance
One of only two known large-scale revolving phoenix examples (other in private Hong Kong collection); hailed as "world's most expensive ceramic" for its technical innovation.
Comparison of Estimated Dates of Execution
Both vases bear the six-character underglaze blue seal mark "Da Qing Qianlong Nian Zhi" (Made during the Qianlong reign of the Great Qing), confirming their attribution to the Qianlong period (1736–1795). Auction catalogs and expert analyses (e.g., from Sotheby's and Poly) describe them as definitively "Qianlong mark and period," with no doubts about authenticity raised. This places their execution squarely within the mid-to-late 18th century, during the height of Qianlong's patronage of porcelain innovation.
The technology of the double vase nevertheless remained appealing for offering the most favorable auspices. Such pieces may be identified as turning heart bottles.
One of them, 63 cm high, is among the most massive in that category. The outer belly features a flying phoenix in a scenery. The open work matches the details of the landscape in irregular shapes, which is an additional feat with a higher risk of deformation during the firing. The rotation of the inner cylinder reveals the flock of ten species of auspicious birds in their flight facing the phoenix as a symbol of the harmonious balance of yin and yang.
The Divine Mother Empress Dowager Chongqing was held in very high regard by her son the Qianlong emperor and her 60th birthday in 1752 CE was one of the most lavish events of his reign.
The Imperial archives record that, on the fifth month of Qianlong's 18th year, the emperor commissioned Jingdezhen to fire a turning heart bottle with fighting dragons which was delivered by Tang Ying in the 11th month of the next year after 18 months of labor.
The yangcai vase with the phoenix was not documented. It was certainly prepared in the same period for a filial presenting to the empress dowager who was known to enjoy the story of the '100 birds'. It was sold for £ 330K by Christie's on June 15, 1999, lot 99, and for RMB 266M by Poly on June 7, 2021, lot 5153.
Asking Grok to compare the Qianlong reticulated revolving vase sold by Poly on June 7, 2021, lot 5153 with the example whose sale at Bainbridges in 2010 has been cancelled. Compare their estimated dates of execution.
Overview
Both vases are exceptional examples of imperial Qing dynasty porcelain, specifically reticulated revolving (or rotating) types produced at the Jingdezhen kilns. These innovative designs, featuring an outer pierced (reticulated) shell that allows the inner rotating vase to be viewed through intricate openwork, were developed in the 1740s primarily to delight Emperor Qianlong (r. 1736–1795). They combine technical virtuosity—such as interlocking parts and multi-layered enameling—with auspicious symbolism, making them among the rarest and most prized Chinese ceramics. Only a handful of such vases survive in museum and private collections.
The Poly vase (lot 5153, sold June 7, 2021, at Poly International Auction Co., Beijing) fetched a world-record RMB 265.7 million (US$41.6 million), underscoring its status as a pinnacle of Qianlong craftsmanship. The Bainbridges example (offered November 11, 2010, at Bainbridges auction house, Ruislip, UK, as lot 800) achieved a hammer price of £43 million (approx. £53.1 million including premium), but the sale was cancelled due to the buyer's refusal to pay the auction house's 20% fee; it later sold privately for around £25 million in 2013.
While both share the Qianlong reign mark and period attribution, they differ in decoration, form, and specific provenance details.
Detailed description
Poly Vase (Lot 5153, 2021)
Description & Form
Four-piece construction: ruby-ground outer reticulated shell with carved openwork depicting phoenix scenes amid foliage and landscapes; inner baluster-form rotating vase with painted figural elements visible through the lattice; elegant tapering neck with archaistic kui dragon handles; overall height approx. 40–45 cm (estimated from images and comparables).
Decoration & Technique
Yangcai (foreign enamels) palette on ruby ground; intricate carved openwork (reticulation) for light transmission; revolving mechanism reveals inner scenes; combines reticulation, interlocking, and rotation—extremely rare fusion. Symbolism evokes imperial auspiciousness (phoenix for prosperity).
Provenance & History
Acquired by a veteran collector in 1999; exhibited in Poly's "Qianlong Palace Art" show prior to sale. No earlier imperial palace links documented publicly.
Auction Outcome
Sold successfully to an undisclosed buyer; set record for most expensive ceramic ever auctioned.
Rarity & Significance
One of only two known large-scale revolving phoenix examples (other in private Hong Kong collection); hailed as "world's most expensive ceramic" for its technical innovation.
Comparison of Estimated Dates of Execution
Both vases bear the six-character underglaze blue seal mark "Da Qing Qianlong Nian Zhi" (Made during the Qianlong reign of the Great Qing), confirming their attribution to the Qianlong period (1736–1795). Auction catalogs and expert analyses (e.g., from Sotheby's and Poly) describe them as definitively "Qianlong mark and period," with no doubts about authenticity raised. This places their execution squarely within the mid-to-late 18th century, during the height of Qianlong's patronage of porcelain innovation.
- Specific Estimates:
- Poly Vase: Dated broadly to the Qianlong period (1736–1795), with emphasis on the 1740s–1750s based on stylistic and technical comparables. Revolving vases were a novel invention around 1740 to satisfy the emperor's fascination with jade-like interlocking mechanisms in ceramics. The yangcai enameling and ruby ground align with peak production in the 1750s, when foreign enamel techniques were perfected at Jingdezhen.
- Bainbridges Vase: Similarly dated to the Qianlong period (1736–1795), with catalog notes highlighting enameling styles from the mid-18th century (circa 1740s–1760s). The famille rose palette and reticulated motifs match documented imperial orders from the 1750s, though some experts note the gilt-heavy borders as slightly later within the reign (post-1750).
- Similarities in Dating: No meaningful difference exists; both are estimated to the same reign (mid-18th century, ~1740–1760). This reflects the standardized imperial production under Qianlong, where such complex pieces were made in limited numbers for the palace. Variations in ground color (ruby vs. potentially yellow/blue for Bainbridges comparables) or motifs do not shift the timeline, as these were experimental within the same decade-spanning workshop.
- Differences in Dating Precision: The Poly vase benefits from more recent scholarly scrutiny (e.g., Poly's 2021 exhibition), tying it explicitly to the 1740s innovation phase. The Bainbridges vase's 2010 catalog relies on traditional connoisseurship, with looser "Qianlong period" phrasing, but post-cancellation analyses (e.g., by Bonhams in 2013) reaffirm the mid-18th century without revision.
1752 Cinnabar Lacquer Box with Archer's Rings
2023 SOLD for HK$ 65M by Sotheby's
Since the Shang period the archers were using rings to protect the thumb from the string. This small piece was made of jade for the commanders and of hide for the troops. It was named 'she' in ancient China.
With time being, archery became less useful on the battlefield. The Qing dynasty, of Manchu origin, was fond of horse riding and revived the tradition of archery in their provincial armies known as the Eight Banners.
In the 17th year of his reign matching 1752 CE, the Qianlong emperor was presented with a jade ring which he praised in two poems as a reminder of the Manchu family law.
Around that time a cinnabar lacquer box and cover 12 cm in diameter was prepared to keep seven imperial rings. It is superbly carved in later Ming style with leaping carps, a homophony with joy and delight. These fish are swimming amidst cherry blossoms and crested waves. The base has the four character Qianlong mark.
The box was filled in compartments with archer's rings of identical form and size 3 cm in diameter and 2.2 cm high but in seven different colors of the jade : mutton fat white, translucent white with brown inclusions, mottled white and brown, translucent green jadeite with darker mottling, translucent spinach green with darker mottling, green-grey with brown skin and russet inclusions, white with a small russet patch. The rings have one rounded and one chamfered edge. A zitan liner was added in 1761.
All these elements were gradually inscribed with imperial appreciations. The poems inscribed on the rings date from 1757 to 1790. One of the white jades is also painted with a fishing scenery.
This set was sold by Sotheby's for HK $ 47M on April 8, 2007, lot 602 and for HK $ 65M on April 8, 2023, lot 15. Please watch the video shared in 2023 by the auction house.
With time being, archery became less useful on the battlefield. The Qing dynasty, of Manchu origin, was fond of horse riding and revived the tradition of archery in their provincial armies known as the Eight Banners.
In the 17th year of his reign matching 1752 CE, the Qianlong emperor was presented with a jade ring which he praised in two poems as a reminder of the Manchu family law.
Around that time a cinnabar lacquer box and cover 12 cm in diameter was prepared to keep seven imperial rings. It is superbly carved in later Ming style with leaping carps, a homophony with joy and delight. These fish are swimming amidst cherry blossoms and crested waves. The base has the four character Qianlong mark.
The box was filled in compartments with archer's rings of identical form and size 3 cm in diameter and 2.2 cm high but in seven different colors of the jade : mutton fat white, translucent white with brown inclusions, mottled white and brown, translucent green jadeite with darker mottling, translucent spinach green with darker mottling, green-grey with brown skin and russet inclusions, white with a small russet patch. The rings have one rounded and one chamfered edge. A zitan liner was added in 1761.
All these elements were gradually inscribed with imperial appreciations. The poems inscribed on the rings date from 1757 to 1790. One of the white jades is also painted with a fishing scenery.
This set was sold by Sotheby's for HK $ 47M on April 8, 2007, lot 602 and for HK $ 65M on April 8, 2023, lot 15. Please watch the video shared in 2023 by the auction house.
1754 Bucintoro at the Molo
2005 SOLD for £ 11.4M by Christie's
2026 for sale on February 4 by Christie's
A view by Canaletto of the Bucintoro at the Molo, oil on canvas 152 x 138 cm painted ca 1754, was sold by Christie's for £ 11.4M on July 6, 2005, lot 20, and will be sold by the same auction house on February 4, 2026, lot 8. The image is shared by Wikimedia.
This view is taken from the Riva degli Schiavoni, in the superb light of the end of the day, with the Bucentaur docked at the Molo. The waterfront paving is set at an exaggerated angle in the foreground.
Canaletto, settled in London since 1746, responded to a specific request from an English aristocratic family. The canvas is still in its period frame of English style, carved, pierced and gilded.
Compare with the ex Walpole 1732 view sold by Christie's on July 1, 2025, lot 8.
Overview
Canaletto (Giovanni Antonio Canal, 1697–1768) repeatedly depicted the annual Ascension Day festival in Venice, featuring the Bucintoro (the Doge's ceremonial galley) returning to the Molo (quayside near the Piazzetta and Doge's Palace) after the "Marriage to the Sea" ritual. The two paintings in question are variations on this iconic theme, painted over two decades apart, reflecting different periods in the artist's career.
The 1732 Version (ex-Walpole Collection)
This view is taken from the Riva degli Schiavoni, in the superb light of the end of the day, with the Bucentaur docked at the Molo. The waterfront paving is set at an exaggerated angle in the foreground.
Canaletto, settled in London since 1746, responded to a specific request from an English aristocratic family. The canvas is still in its period frame of English style, carved, pierced and gilded.
Compare with the ex Walpole 1732 view sold by Christie's on July 1, 2025, lot 8.
Overview
Canaletto (Giovanni Antonio Canal, 1697–1768) repeatedly depicted the annual Ascension Day festival in Venice, featuring the Bucintoro (the Doge's ceremonial galley) returning to the Molo (quayside near the Piazzetta and Doge's Palace) after the "Marriage to the Sea" ritual. The two paintings in question are variations on this iconic theme, painted over two decades apart, reflecting different periods in the artist's career.
The 1732 Version (ex-Walpole Collection)
- Title: Venice, the Return of the Bucintoro on Ascension Day
- Date: circa 1732 (early 1730s, Canaletto's peak Venetian period)
- Dimensions: 33⅞ × 54⅜ in. (86 × 138.1 cm) — horizontal format
- Provenance and Sales: Formerly owned by Britain's first Prime Minister, Sir Robert Walpole (hung at 10 Downing Street from 1736). Sold at Christie's London, 1 July 2025 (lot 8), for £31,935,000 — a record for the artist.
- Style and Characteristics: Painted in Venice during Canaletto's "great decade." Features a wide, panoramic view across the Bacino di San Marco, with the lagoon foreground filled with gondolas and elegantly dressed figures. Warm early-summer light, confident brushwork (e.g., flicks for parasols and ribbons), meticulous detail, and vibrant atmosphere. Considered his earliest and most ambitious treatment of the subject, with supreme mastery and impeccable condition.
- Title: Venice, the Bucintoro at the Molo on Ascension Day
- Date: circa 1754 (painted in England during Canaletto's residency there, 1746–1755)
- Dimensions: Approximately 59¾ × 54 in. — nearly square, more vertical orientation
- Provenance and Sales: Commissioned by the King family (later Earls of Lovelace). From the Champalimaud collection; sold at Christie's London, 6 July 2005 (lot 20), for around £11.4 million (then a record). Returning to auction at Christie's New York, 4 February 2026 (lot 8), estimate on request (around $30 million expected).
- Style and Characteristics: Described as Canaletto's most spectacular and theatrical Venetian view from his English period. Monumental scale, daring composition, dazzling brushwork, and colorful palette. More focused and dramatic, with heightened pageantry and precision. Pristine preservation; considered one of his most visually powerful works, painted with supreme confidence late in his career.
- Composition and Viewpoint — The 1732 version offers a broad, horizontal panorama emphasizing the bustling lagoon and distant Molo. The 1754 version is taller and more vertical, creating a theatrical, focused framing on the Bucintoro and architecture for greater drama.
- Period and Technique — 1732: Peak freshness, warm tonality, and detailed staffage from his prime Venetian years. 1754: Mature confidence from England, with bolder colors, brushwork, and spectacle — described as "monumental" and "visually powerful."
- Atmosphere and Light — Both capture festival energy, but the earlier is lighter and more atmospheric (early summer glow), while the later is more intense and theatrical.
- Market Reception — The 1732 fetched a higher price (£31.9m in 2025), reflecting its earlier date and provenance. The 1754 set the prior record in 2005 and is poised for strong performance in 2026 due to rarity and condition.
1756-1759 Rat and Rabbit
2009 15.7 M€ including premium, UNPAID
Today, we are not just talking about auctions, but also on international politics. In September, just after the announcement of the sale of the Yves Saint-Laurent collection, Chinese lobbying groups have opposed the sale of two fountain ornaments. The echoes of the press show that these groups are increasingly active.
Twelve bronzes represented the Chinese zodiac in the main fountain at the palace of Qianlong in Beijing. They were the heads of the animals, and water flowed from their mouths at defined times. These figures are neither of Chinese or Western art, but a combination of the two: they were made on the plans of the Jesuit missionary Giuseppe Castiglione between 1756 and 1759.
This all disappeared at the looting of the palace by the Anglo-French troops in 1860, making today the opponents of the sale stating that the bronzes were stolen. Five statues were returned to China, five of them are not localized, and rat and rabbit are each estimated € 8 million in the sale of Christie's and Pierre Bergé in Paris from 23 to 25 February, 2009.
This price was announced, but curiously they are now the only lots in this three day sales catalog for which potential buyers must have the estimate confirmed by Christie's. I give you my personal opinion. Such pressure can intimidate a potential bidder. Christie's is perhaps in the process of seeking a buyer whose personality satisfies all parties. This is what Sotheby's did in 2007, when they removed the horse head from an announced sale. Stanley Ho bought it then privately for $ 69.1 MHK and donated it to the Chinese government.
The rat head is 30 cm high. The rabbit is higher ... through his ears!
POST SALE COMMENT
As prepared, rat and rabbit were presented separately. They were sold, both at the same price, € 15.7 million including premium.
The sale of these lots has not finished generating comments. I made two predictions, they have proved false. Buyers were not intimidated. Christie's and Pierre Bergé achieved the process without being intimidated, and therefore without recourse to a private transaction.
We must not forget that the activity that makes the difference between an international auction group and a national or local auction houses is their ability to convince buyers. The work done by Christie's to sell these two bronzes was probably huge.
These were the last two bronzes of the Imperial fountain to be available on the market. This has certainly increased their value.
In addition, the Chinese themselves, with their protests republished by the international press, have shown their interest in this group of works. Their price would certainly have been much lower if the dispute had not occurred.
It is something of a spectacular example which reinforces my premise: the price of an item at auction is a reliable metrics of the cultural importance given to this object at a dedicated time.
Now, five heads are lost. It should be very exciting if these excellent results push some of them to appear on the market.
2013 COMMENT
The travel back to China of rat and rabbit has just been decided.
The Chinese buyer of 2009 immediately said that he would not pay, and Mr. Bergé had kept the bronzes. They later entered into the ownership of Mr. Pinault who now presents them to China. Christie's facilitated this operation.
Both bronzes are shown in the story shared by Bloomberg.
Twelve bronzes represented the Chinese zodiac in the main fountain at the palace of Qianlong in Beijing. They were the heads of the animals, and water flowed from their mouths at defined times. These figures are neither of Chinese or Western art, but a combination of the two: they were made on the plans of the Jesuit missionary Giuseppe Castiglione between 1756 and 1759.
This all disappeared at the looting of the palace by the Anglo-French troops in 1860, making today the opponents of the sale stating that the bronzes were stolen. Five statues were returned to China, five of them are not localized, and rat and rabbit are each estimated € 8 million in the sale of Christie's and Pierre Bergé in Paris from 23 to 25 February, 2009.
This price was announced, but curiously they are now the only lots in this three day sales catalog for which potential buyers must have the estimate confirmed by Christie's. I give you my personal opinion. Such pressure can intimidate a potential bidder. Christie's is perhaps in the process of seeking a buyer whose personality satisfies all parties. This is what Sotheby's did in 2007, when they removed the horse head from an announced sale. Stanley Ho bought it then privately for $ 69.1 MHK and donated it to the Chinese government.
The rat head is 30 cm high. The rabbit is higher ... through his ears!
POST SALE COMMENT
As prepared, rat and rabbit were presented separately. They were sold, both at the same price, € 15.7 million including premium.
The sale of these lots has not finished generating comments. I made two predictions, they have proved false. Buyers were not intimidated. Christie's and Pierre Bergé achieved the process without being intimidated, and therefore without recourse to a private transaction.
We must not forget that the activity that makes the difference between an international auction group and a national or local auction houses is their ability to convince buyers. The work done by Christie's to sell these two bronzes was probably huge.
These were the last two bronzes of the Imperial fountain to be available on the market. This has certainly increased their value.
In addition, the Chinese themselves, with their protests republished by the international press, have shown their interest in this group of works. Their price would certainly have been much lower if the dispute had not occurred.
It is something of a spectacular example which reinforces my premise: the price of an item at auction is a reliable metrics of the cultural importance given to this object at a dedicated time.
Now, five heads are lost. It should be very exciting if these excellent results push some of them to appear on the market.
2013 COMMENT
The travel back to China of rat and rabbit has just been decided.
The Chinese buyer of 2009 immediately said that he would not pay, and Mr. Bergé had kept the bronzes. They later entered into the ownership of Mr. Pinault who now presents them to China. Christie's facilitated this operation.
Both bronzes are shown in the story shared by Bloomberg.
1757 Su Shi's Boating Pavilion by Qian Weicheng
2019 SOLD for RMB 75M by China Guardian
The Qianlong emperor was a keen admirer of Su Shi. In 1757 CE, during his second southern tour, he visited Su Shi's Mooring Boat (Yizhou) Pavilion in Changzhou, the city where the famous poet, calligrapher, painter and politician of Song period had died in exile in 1101 CE.
The brilliant mandarin and scholar Qian Weicheng, a native of Changzhou, took this opportunity to paint a scenery with the pavilion. The Qianlong emperor was so delighted that he wrote a poem on the spot and another one 27 years later when he passed through Changzhou on his sixth southern tour, 12 years after the death of the artist.
This thick and light ink and color on paper 26 x 75 cm was sold for RMB 75M from a lower estimate of RMB 50M by China Guardian on November 19, 2019, lot 1369. The handscroll includes the title and two postscripts.
There are as many as 165 paintings by Qian Weicheng in Qianlong's collection catalog Shiqu Baoji.
The brilliant mandarin and scholar Qian Weicheng, a native of Changzhou, took this opportunity to paint a scenery with the pavilion. The Qianlong emperor was so delighted that he wrote a poem on the spot and another one 27 years later when he passed through Changzhou on his sixth southern tour, 12 years after the death of the artist.
This thick and light ink and color on paper 26 x 75 cm was sold for RMB 75M from a lower estimate of RMB 50M by China Guardian on November 19, 2019, lot 1369. The handscroll includes the title and two postscripts.
There are as many as 165 paintings by Qian Weicheng in Qianlong's collection catalog Shiqu Baoji.
1758 Dresden by Bellotto
2020 SOLD for £ 5.4M by Sotheby's
A pupil and nephew of Canaletto, Bernardo Bellotto left Venice in 1747. Until his death in 1780, he settled successively in the main capitals of Northern Europe, where he exported the Vedutist style with great success. Far from his uncle who left for London in 1746, Bernardo did not hesitate to call himself "Canaletto".
The first stopover is Dresden, where from 1748 he occupies the position of court painter. Bellotto paints topographical views with the same thoroughness as his uncle and in cold colors. The almost identical variants can often be dated by the state of the monuments. Fourteen large format views are being prepared for the Royal Gallery. One of them, 132 x 247 cm, shows the alignment of monuments along the Elbe. A 96 x 165 cm autograph copy passed at Christie's on July 9, 2015.
From 1961 to 2005, a view of the galleries of the Zwinger, the pleasure palace of the Elector of Saxony, adorned the presidential residence in Bonn. It had been forcibly acquired in 1938 for the use of the Führermuseum and has now been returned to the heirs of the looted collector. This oil on canvas 48 x 80 cm was sold for £ 5.4M from a lower estimate of £ 3M by Sotheby's on July 28, 2020, lot 33. The image is shared by Wikimedia.
The Zwinger had been built on ancient fortifications outside the city. The painting shows a side view behind a canal animated by swans. A rudimentary wooden bridge leads to an orangery with a promenade.
The original was an oil on canvas 133 x 235 cm. Its variant can be dated to 1758, the year Bellotto left for Vienna. It is very comparable by its overall composition and by almost all the details to an etching 53 x 84 cm printed in that year with a title in French by "Ber(d) Bellotto dit Canaletto".
The first stopover is Dresden, where from 1748 he occupies the position of court painter. Bellotto paints topographical views with the same thoroughness as his uncle and in cold colors. The almost identical variants can often be dated by the state of the monuments. Fourteen large format views are being prepared for the Royal Gallery. One of them, 132 x 247 cm, shows the alignment of monuments along the Elbe. A 96 x 165 cm autograph copy passed at Christie's on July 9, 2015.
From 1961 to 2005, a view of the galleries of the Zwinger, the pleasure palace of the Elector of Saxony, adorned the presidential residence in Bonn. It had been forcibly acquired in 1938 for the use of the Führermuseum and has now been returned to the heirs of the looted collector. This oil on canvas 48 x 80 cm was sold for £ 5.4M from a lower estimate of £ 3M by Sotheby's on July 28, 2020, lot 33. The image is shared by Wikimedia.
The Zwinger had been built on ancient fortifications outside the city. The painting shows a side view behind a canal animated by swans. A rudimentary wooden bridge leads to an orangery with a promenade.
The original was an oil on canvas 133 x 235 cm. Its variant can be dated to 1758, the year Bellotto left for Vienna. It is very comparable by its overall composition and by almost all the details to an etching 53 x 84 cm printed in that year with a title in French by "Ber(d) Bellotto dit Canaletto".
1759-1760 The Blue Goats by Lang Shining
2025 SOLD for HK$ 59M by Sotheby's
Giuseppe Castiglione arrived in Beijing in the 54th year of Kangxi, 1715 CE. The skills of this young man aged 27 appealed to the emperor and he became a court painter under the name Lang Shining. He never left the imperial court. In his outstanding career that lasted half a century without harm or conflict, he assimilated the traditional techniques of Chinese graphic art without forgetting his original training.
The court painters were considered as imperial officials and did not sign their works. Lang Shining and his studio are credited with near certainty for the paintings that incorporate such Western features like perspective or like the shades that enhance the realism of the face.
From 1757 CE the Qianlong emperor was facing a revolt on the northwestern border. Two years later the rebel army was crushed in the mountains of current-day Afghanistan. Desiring to highlight the civilizing force of the Qing, the emperor commissioned in November a painting featuring two 'blue' goats. This sharp hoof chamois famous for its untamed agility in climbing cliffs is symbolizing the feat of the Chinese army in defeating the rebels whose surrender and resilience prevent further leaps.
The completed work entrusted by Lang Shining was presented to the emperor along with two other paintings by the same artist on the 3rd day of the 6th lunar month of the 25th year of Qianlong matching 1760 CE. The animals are painted in a European realistic style with beautiful details including the texture of the fur. The landscape is likely by a Chinese hand. Indeed the emperor did not like the Western landscape style.
The Blue Goats, ink and color hanging scroll on silk 220 x 190 m, is signed by Jin Tingbiao, a collaborator to Lang Shining, and inscribed on imperial order by a scribe with the Qianlong poem that inspired it. It was sold for HK $ 59M by Sotheby's on May 7, 2025, lot 9501. Please watch the video shared by the auction house.
The autograph master copy 243 x 214 cm signed by Lang Shining is kept at the National Palace Museum at Taipei. The landscape is different.
The court painters were considered as imperial officials and did not sign their works. Lang Shining and his studio are credited with near certainty for the paintings that incorporate such Western features like perspective or like the shades that enhance the realism of the face.
From 1757 CE the Qianlong emperor was facing a revolt on the northwestern border. Two years later the rebel army was crushed in the mountains of current-day Afghanistan. Desiring to highlight the civilizing force of the Qing, the emperor commissioned in November a painting featuring two 'blue' goats. This sharp hoof chamois famous for its untamed agility in climbing cliffs is symbolizing the feat of the Chinese army in defeating the rebels whose surrender and resilience prevent further leaps.
The completed work entrusted by Lang Shining was presented to the emperor along with two other paintings by the same artist on the 3rd day of the 6th lunar month of the 25th year of Qianlong matching 1760 CE. The animals are painted in a European realistic style with beautiful details including the texture of the fur. The landscape is likely by a Chinese hand. Indeed the emperor did not like the Western landscape style.
The Blue Goats, ink and color hanging scroll on silk 220 x 190 m, is signed by Jin Tingbiao, a collaborator to Lang Shining, and inscribed on imperial order by a scribe with the Qianlong poem that inspired it. It was sold for HK $ 59M by Sotheby's on May 7, 2025, lot 9501. Please watch the video shared by the auction house.
The autograph master copy 243 x 214 cm signed by Lang Shining is kept at the National Palace Museum at Taipei. The landscape is different.
