NEW YORK, NY.- When Asian art collectors and museum curators visit New York for Asia Week, Gianguan Auctions will greet them with collections of headline-making Chinese ceramics, ancient and modern scroll paintings and works of art by court scholars, artisans and monks whose vision and craftsmanship inspired emperors and influenced style for generations to come. The Gianguan Auctions sale is Saturday, March 19th at 39 W. 56th Street and online. Previews open on Friday, March 11th.

The item to watch is Lot 155, a Qing Dynasty yellow-ground famille-rose enamelled vase with garlic head and arched scroll handles valued at $15,000,000. The estimate reflects the sophisticated use of enameling and sgraffiato - literally, scratching the hard fired surface to tap the hue of a glaze or slip beneath. The abundance of precisely executed peonies and butterflies set beneath ruyi heads, floral scrolls and a gilt rim belie the time and effort it took to create them. The 9-inch tall vase bears the Qianlong six-character mark and is of the period.

Leading the Chinese paintings is Lot 78, ‘Five Cattle” by Yan Ciping of the Southern Song Dynasty. The period was one of heightened appreciation for art. Fine paintings often inspired others to copy them, as is the case with this painting which is after Han Huang’s earlier “Five Cattle”. It will command as much as $5,000,000.

The cultural phenomenon of showing respect via imitation accounts for much of the mystery surrounding Lot 92, “Chess Game abut Screen”, attributed to Zhou Wenju, a Five Dynasty’s painter. A similar painting in the Forbidden Palace is considered a National Treasure although experts feel it might be a copy made by Song Emperor Zhou. New evidence indicates the painting on view at Gianguan Auctions may be the long lost original. For details, please contact the auction gallery.

Meanwhile, Lots 85-88 are rebellion paintings created by Bada Shanren, a Qing citizen turned monk. The four images are leaves of an album. Each depicts a lone animal in a nuanced scene that reflects the artist’s disdain for the Qing rulers. Bidding on each starts at $250,000.

Another series of painting, Lot 98, The Four Seasons by Li Keran are notable. A set of four detailed landscapes take the viewer into China’s magnificent countryside to view the features that are emphasized during each change of the year. Above each scene, calligraphy from the same hand adds to the flavor. The series is valued at $40,000-$60,000

Happiness, harmony, longevity, prosperity, the universal themes the Chinese portray so well, live in the collection of paintings of mynah birds, eagles, monkeys, and horses positioned throughout the auction. Values range from $6,000 for Lot 73, Gao Jianfu’s “Eagle and Maple” to $15,000 or more for Lot 111, Zhao Shaoang’s “Birds and Sunflowers.”

Calligraphy based paintings have their own story to tell. Lot 74, “Script Calligraphy,” by Liu Yong, and Lot 79, “Emperor Daoguang’s Calligraphy,” 1828, signed by the Emperor and bearing two artist seals, anchor the collection at $6,000-$8,000. Lot 91, Dong Qichang’s 17th century “Script Calligraphy,” is representative of mid-level works. Its estimate tops off at $80,000.

CHINESE CERAMICS
Among the Chinese ceramics, mixtures of clay and precious glazes are at play. For example, on Lot 151 gold moulded birds decorate a pair of red glazed vases. Of the Qing period and engraved with the Qianlong six-character mark, the long necked vases will fetch upwards of $60,000. At Lot 175, a twin-linked jar has incised gilt silver overlays. Of the Qing Dynasty, the Qianlong six-character mark supports its $3,000-$4,000 estimate. Pewter is used to enhance three zisha clay teapots at Lots. 238,239,240 From the atelier of Yang Pengimian, they are further enhanced with jade spouts, handles and finials. Valued at $3,000-$4,000, they lead a collection of teapots.

The finest famille-rose ceramics date from the Yongzheng period (1723-1735) of the Qing Dynasty. Lot 183 is a fine bowl depicting birds in flight and nestling amidst plum blossoms. The Yongzheng four-character mark with double squares authenticates the period. The bowl is $60,000-$80,000.

When decoration gives way to shape and form, amazing items like the glazed arrow vase at Lot 168 are born. The mouth of the crackle glaze, slender neck is flanked by tubular handles that deliver minimalist impact. The vase, however, is Qing and has the Kangxi six-character mark. Catalog estimate is $6,000 and up. Lot 158, A Tibetan style Benbahu - a floral decorated ewer with canted sides rolling inward and a canopy style mouth - also has modernist look to it. Of the Qing period, it sports a six-character seal. The estimate is $150,000.

A group of 19th century Korean ceramics, Lots 225-228, also provide insight into design perspectives of the past. Three vases, spare of line, and a teapot decorated with abstract flower pods are highly collectible at $300-$500 each.

STONE CARVINGS & SMALLS
Amber, jade, crystal, glass and shoushan carvings, a favorite among collectors, run deep and are modestly valued. The amber stand out is Lot 162, a Han chao zhu, or court necklace, It is defined by five pendants of amber, Han glass, coral beads shooting off an amber bead collar. The ancient jewelry will go for as much as $15,000.

Another amber star lot is Lot 222, a phoenix formed ewer with matching cups, all of golden honey hue. The ewer, surmounted with a Buddhist mandorla and sporting a tail shaped handle, sits on an eight-lobed saucer. Its cups are all carved as phoenix with ruyi tails. The low estimate is $8,000.

Lot 200 is a pair of blue glass zuns with dragon handles and loose rings. At more than 8 inches tall, they are carved with dragon masks and geometric shapes and emblazoned with hardstone. Bidding begins at $30,000. As an alternative to size and price, Lot 43 is a 1926 crystal snuff bottle by maker Ma Shaoxuan that co-joins three bottles within. It is inside-painted with fish. The $2,000 estimate makes it an excellent entry level glass collectible.

Crystalized inclusions in scholar’s rocks make for an added and unusual highlight. Lot 52, looks, from one side like nothing more than an interesting grayish rock. Turn it around and a brilliant crystalized burst of calcite in the shape of a chrysanthemum entrances and focuses the mind. Mounted on a wooden base, the 8 inch stone is $2,000-$3,000. Lot 55 is double calcite chrysanthemum formation with quartz in a carved stone. It is similar to a stone flower screen in the Hunan Provincial Museum. Bidding starts at $2,000.

Hetian white jade defines a collection of snuff bottles and small figural carvings early in the sale. Lot 50 is a white jade carving of three rams, an auspicious sign. Its estimate is upwards of $4,000. Contrasting this is Lot 51, a deep spinach green recumbent horse with monkey signifying prosperity. It starts at $2,000.

Finally, Lot 194 a root stand of highly polished boxwood will enliven any collection with its naturalistic beauty. An intertwined and irregular top stands on a gnarled base, Thirty-three inches tall and weighing thirty pounds, the stand will go for more than $3,000.

For details on these and other properties in Gianguan Auctions sale on Saturday, March 19, please visit www.gianguanauctions.com. Previews begin Friday, March 11 and continue through Friday, March 18. The auction takes place at the gallery, 39 W. 56th Street, NYC and online at invaluable.com.