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Preisdatenbank abonnierenA Chinese coral-glazed bowl,Daoguang (1821-1850), the rounded sides rising from a circular foot, painted with bats among scrolling lotus in gilt, all reserved on a deep coral ground, six-character Daoguang mark to base,14cm diameter清道光 珊瑚红地描金缠枝莲纹碗 《大清道光年制》青花篆书款Condition ReportSurface scratches, some gilding and enamel losses. A small chip to rim.
A pair of Chinese Canton famille rose vases,late 19th century, each of rouleau form flanked by two mask and ring handles, painted with figures in shaped panels surrounded by sprigs of flowers and precious objects,62cm high (2)清十九世纪末 广东粉彩开光人物故事图瓶 一对Condition ReportSome gilt and enamel losses. Small chips to foot rims.One with star cracks to base.
A Chinese iron-red vase,Guangxu (1875-1908), of baluster form with an inverted rim, flanked by two Buddhist lion and pup handles, painted with Eight Buddhist Emblems among scrolling lotus,61.5cm high清光绪 矾红彩八吉祥缠枝莲纹瓶Condition ReportOne handle chipped to the lion pup's tail. Surface scratches, some minor enamel losses.
PAIR OF SKY-BLUE-GLAZED CUPS QING DYNASTY, YONGZHENG MARK, 18TH CENTURY 清 雍正款 天藍釉小杯（一對） each delicately thrown with translucent sides of deep conical shape resting on a straight foot, covered on the exterior with a vibrant light-blue enamel, the interior and base left white, the base further inscribed in underglaze blue with a six-character Yongzheng mark within double circleDimensions:5.2cm diameter eachProvenance:Provenance: Formerly in a private Swedish collection
RARE 'FALANGCAI' ENAMEL 'LOVERS' VASE QIANLONG MARK BUT REPUBLIC PERIOD 民國 乾隆年製藍料底款 仁化、世寧及碧露章款 琺瑯彩西洋人物紋瓶 the body delicately painted with a western couple with golden hair resting under a large tree, a third female with exposed upper body peeking from the bush, the reverse inscribed with an inscription and three seals, the base inscribed with a four-character Qianlong mark in double square in blue enamelDimensions:23cm highProvenance:Provenance: Formerly in a private European collectionNote: Note: a closely comparable famille rose garlic-head vase with similar decoration and the same inscription and marks, dated to the Republic period, was sold from Sotheby's Hong Kong on 2nd November 1994, lot 215 then in Beijing Poly auction during 4th-5th November 2021, lot 1301.
LARGE CLOISONNÉ ENAMEL 'LOTUS' ELEPHANT-HEAD TRIPOD CENSER QING DYNASTY, QIANLONG MARK, 18TH-19TH CENTURY 清 乾隆年製款 銅胎掐絲琺瑯纏枝蓮紋龍鳳紋三足象首大爐 with everted rim, the flat base with a gilded bronze roundel in the centre decorated with a dragon and phoenix chasing a flaming pearl, the rest of the washer decorated on the interior and exterior with various lotus in tendrils, the mouth rim and the edge of the base with gilt mount, the vessel supported on three large feet in elephant-head form, the side of the mouth rim incised with a six-character Qianlong markDimensions:48cm diameterProvenance:Provenance: Formerly in a private French collection
CLOISONNÉ ENAMEL 'NEW YEAR'S SCENE' TABLE SCREEN QING DYNASTY, 18TH-19TH CENTURY 清 董誥款 銅胎掐絲琺瑯《李士達歲朝圖》木框桌屏款識: 豐年景自煙村見/衣食麤完具盖蔵/梅朶芳菲報春信/桞條搖曵漏韶光/招呼東舍西隣近/戯耍騃童稚子忙/獨有圍爐題句者/屠蘓最後飲猶强/御製題李士達歲朝圖/臣董誥敬書/臣/誥 depicting a village surrounded by trees adjoining misty and hilly mountains, a mother holding a boy's hand on a bridge joining further boys at play outdoors whilst a couple peeping through the door watching firecrackers, further figures indoors, one scholar reading before a large window, a group of people eating and drinking next door, inscribed with a poem by Qianlong, signed and sealed Dong Gao, all at the upper right-hand corner of the gold sky, with wooden frameDimensions:48.8cm x 34.2cmNote: Note: Inspired after appraising the ink and colour on paper scroll depicting the New Year's scene in a village by Li Shida (1550-1620), which is now in the collection of The Palace Museum Beijing, Qianlong emperor (reign 1735-1796) composed a poem dedicated to this painting. It is compiled in the fourth collection, fifty-fifth volume of the Siku Quanshu (Library of the Four Treasuries), entitled 'Li Shi Da Sui Chao Tu' (李士達歲朝圖, The New Year's Scene by Li Shida). The naming of the painting, 'Li Shi Da Sui Chao Cun Qing Tu Zhou' (李士達歲朝村慶圖軸, Scroll Painting of New Year's Scene in a Village by Li Shida) is according to the content of the poem by Qianlong Emperor. [1]It is indicated in the inscriptions on the top right that, this cloisonné enamel panel is made according to Li Shida's painting. The inscriptions and the imperial poem, 'carefully written by Minister Dong Gao (1740-1818)', who was a high-ranking civil servant who served the Qianlong and Jiaqing emperors. [1] Sheng, Zhongqiang, "Li Shida suichao cunqingtu tushi yu neihan yanjiu" (Style and Substance of the The New Year's Scene by Li Shida), Art in China, No. 2 (2020): 152-159
CLOISONNÉ ENAMEL STUPA QING DYNASTY, 18TH-19TH CENTURY 清 銅胎掐絲琺瑯尊勝塔 of Tibetan style, raised on a waisted square pedestal enamelled with lotus lappets, the dome-shaped stupa decorated with lotus and scrolling tendrils underneath a festoon of beads and a band of mythical beast heads, opening to a side with yellow-silk padded shrine set within arched niche and lotus throne, raised to a fifteen-wheeled spire and parasol, topped with a hardstone-inlaid sun-moon finial and pinnacleDimensions:31cm high; 1663gProvenance:Provenance: Formerly in a private European collectionNote: Note: Compare to a larger cloisonné enamel stupa, 66.6cm high, dated to Qianlong period, with circular stepped pedestal with steps leading towards the shrine, in the collection of the Freer Gallery of Art, accession no. F1991.6; Also see a pair of cloisonné enamel stupa, 18th-19th century, offered at Sotheby's New York, 16 March 2016, lot 328, note the similarity of the mythical beast heads and festoon bands on the globular bumpa; See another larger and more elaborate example, dated to Qianlong period, in the collection of the Met Museum, accession no. 33.40.67.
CLOISONNÉ ENAMEL 'MILLEFLEUR' BOTTLE VASE LATE QING TO REPUBLIC PERIOD, 19TH-20TH CENTURY 清末民初 德興成造款 銅胎掐絲琺瑯百花不落地瓶 finely enamelled overall with millefleur reserved on a green ground, the base a four-character workshop impress mark 'De Xing Cheng Zao' (Made by De Xing Cheng)Dimensions:23.8cm high; 681g
AGATE 'MONKS' SNUFF BOTTLE QING DYNASTY, 19TH CENTURY 清 瑪瑙僧人題詩鼻烟壺 後加琺瑯彩及金製口緣 cleverly carved to one side with two monks underneath a gnarled pine tree, the reverse with a poem 'as enchanting as mountains, the tranquillity of mind as if the cloud during high moon', mounted with gold and enamel on the mouth Dimensions:5.5cm highProvenance:Provenance: Private Scottish collection, bought in London in the 1990s at auction
A Chinese blue and white vase,Republic period (1912-1949), the pear-shaped body rising from an everted foot to a garlic mouth, painted with a blossoming prunus branch in the form of a shou character, surrounded by magpies, the flowers enamelled in iron red, six-character Wanli mark in a rectangular cartouche to rim,56cm high 民国 青花矾红彩喜上眉梢寿字纹蒜头瓶 《大明万历年制》青花楷书款Condition ReportSurface scratches, enamel losses, small chips to foot rim, cracks in various locations to base and issuing to the body. Signs of old repair.
BREWSTER'S MILLIONS (1985) - Set of Montgomery Brewster's (Richard Pryor) EphemeraMontgomery Brewster's (Richard Pryor) ephemera from Walter Hill's classic comedy Brewster's Millions. In an attempt to inherit $300 million, Hackensack Bulls pitcher "Monty" Brewster staged a match against the New York Yankees, ran for Mayor, and bought a rare misprinted stamp.This set consists of a glossy colour Yankees vs. Bulls brochure; four orange and blue uncut paper postage stamps printed with an upside-down biplane; two New York Poster newspapers with production-made covers, one featuring Brewster's stamp and one headlined "None of the Above"; and an enamel "Don't Vote for Brewster" campaign pin. The set exhibits signs of production use throughout, including edge wear and folding to the papers and brochure. Dimensions (largest): 29.25 cm x 38.25 cm (11.5" x 15"); (smallest): 10.25 cm x 10.25 cm (4" x 4") Estimate: £1,500 - 2,500 ΩThis lot will be auctioned on Saturday, November 5th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Sunday, November 6th.
NINE CARAT GOLD HALF HUNTER POCKET WATCH,the round white enamel dial with Roman hour markers, outer railroad seconds track in black, subsidiary dial at 6, 49mm case with engraved decoration and enamelled chapter ring, 73.6gMOVEMENT: Ticking at present. WEAR: Generally worn. DIAL: Marks and hairline cracks visible. CRYSTAL/ACRYLIC: Some light marks visible. HANDS & MARKERS: Intact. Loss of enamel to outer markers. No inscription.
SILVER ROLEX CASED TRENCH WATCH,the round white enamel dial with Arabic hour markers, outer railroad seconds track in black, subsidiary dial at 6, 33mm case, movement signed DIMRA and the case signed Rolex with G.T.Frew to the exteriorMOVEMENT:Not ticking at present. Has been overwound. WEAR: Generally worn.Discolouration, scratches, dents etc to case. DIAL: Cracked in multiple areas, loss between 4 & 5 markers. CRYSTAL/ACRYLIC: Scratches visible.HANDS & MARKERS: Intact. Hands have been repainted. CROWN: Intact.
EIGHTEEN CARAT GOLD HALF HUNTER POCKET WATCH,the round white enamel dial with Roman hour markers, outer railroad seconds track in black, subsidiary dial at 6, 50mm case, with a presentation inscription to the inside dated 1871MOVEMENT:Ticking at present. WEAR: Worn condition. DIAL: Multiple hairline cracks visible. CRYSTAL/ACRYLIC: Some scuffs visible. HANDS & MARKERS: Intact. 112g
NINE CARAT GOLD FOB WATCH,the white enamel dial with Roman hour markers, outer railroad seconds track in black, inscribed J.Cameron & Son, Kilmarnock, 30g, in fitted case MOVEMENT: Not in working order. Unable to access movement. WEAR: Well worn. DIAL: Some marks visible. CRYSTAL/ACRYLIC: Missing. HANDS & MARKERS: Hands snapped - remainder corroded. 34mm case.
LADY'S DIAMOND SET WRIST WATCH,the round white enamel dial with Arabic hour markers, outer railroad second track in black, 25mm case with diamond set bezel, in eighteen carat gold, 17.2g, lacking strapMOVEMENT: Not ticking at present. WEAR: Well worn. DIAL: Chipped to the edge - later badly repaired. CRYSTAL/ACRYLIC: Some marks visible. HANDS & MARKERS: Intact. CROWN: Intact. BRACELET/STRAP: Lacking.
A RARE ARCHAIC BRONZE GOURD-SHAPED VASE AND COVER, HUEastern Zhou DynastyThe bulbous flask-shaped body supported on a simulated rope-twist foot, rising to a straight neck slightly curved on one side, intricately cast with two registers around the body and another below the mouth rim decorated with the 'coiling snake' panhui motifs, set on one side with a bar handle in the form of a snake attached to the body with two rope-twist rings and with a loose interlinked chain secured to the tail of the bird-shaped cover, the cover naturalistically cast as a bird with well detailed wing feathers bordered with archaistic scrolls, the sharp beak opening to form the aperture of the vessel, the bird grasping two serpents in its claws. 33cm (13in) high. (2).Footnotes:東周 蟠虺紋匏壺Provenance: Mark Dineley (1901-1975)Peter Dineley (1938-2018), and thence by descent來源：Mark Dineley（1901-1975年）舊藏Peter Dineley（1938-2018年）舊藏，並由後人保存迄今Mark Dineley and his son Peter Cleverly Dineley collected antique arms and armour, Chinese, Tibetan and Nepalese art amongst other interests. The collections were displayed in the former family home, Aubrey House, located in Holland Park, London - a stately 18th century house. The house came into the Dineley family when it was acquired in 1873 by William Cleverly Alexander (1840-1916) from whom Mark and Peter were descended. W.C. Alexander was a banker and a great connoisseur and patron of the artist James McNeill Whistler, as well as a renowned collector of Chinese ceramics, jade and Japanese art, much of which is now in the British Museum, London, including the celebrated Northern Song Alexander bowl. He was amongst the lenders to exhibitions held at the Burlington Fine Arts Club in 1895, 1896 and 1910 and to the City of Manchester Art Gallery's Exhibition of Chinese Applied Art in 1913, and to exhibitions held at the Victoria and Albert Museum, London. In May 1931 his collection of Chinese ceramics, including 355 lots, was sold over two days and Sir Percival David acquired a significant part, now in the British Museum.Gourd-shaped vessels resembling this vessel have been excavated in Henan, Shanxi and Shaanxi Provinces, which were among the territories ruled by the Jin and Wei. Such vessels were used for containing wine and it is notable that the design is rare compared with more common wine-vessel forms such as gu. Excavations in early Warring States tombs have only revealed one such vessel within a large burial, suggesting that such vessels reflected the noble status of the deceased.Compare with a similar gourd-shaped vessel and cover, Warring States, decorated with three registers of panhui motifs around the body, in the National Palace Museum, Taipei, (acc.no.GuTong000024N000000000); and another excavated in 1988 at Jinshen village, Taiyuan, Shanxi Province, now in the Shanxi Museum, see Zhongguo meishu fenlei quanji. Zhongguo qingtong tongqi quanji 8. Dongzhou 2, Beijing, 1995, pp.73-74, nos.81-83. See also other similar excavated examples in the Shaanxi Museum of History and the Sackler Gallery of Art illustrated in ibid., pp.75-76, nos.84-85. For an example of this rare type in the Arthur Sackler collection, see Jenny So, Eastern Zhou Ritual Bronzes in the Arthur M. Sackler Collection, Washington D.C., 1995, pp.236-239, no.39. The author suggests that this type of vessel was a 'short-lived type which appeared toward the end of the eighth century BC and disappeared by the early fifth century BC, and illustrates a closely related example formerly in the collection of Mrs. Otto H. Kahn, now in the Metropolitan Museum of Art, New York (acc.no.1949.135.9), illustrated ibid., p.238, fig.39.1.Following the trend for archaism in the 18th century, and especially during the reign of the Qianlong Emperor, vessels such as the present lot became the model for other gourd-shaped vessels in various other media such as jade and cloisonné enamel. See for example, a cloisonné enamel vase of similar form to the present lot, Qianlong, in the Asian Art Museum, San Francisco (acc.no.B6OP286).For further information on this lot please visit Bonhams.com
A VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD INCENSE BURNER, DING15th centuryThe robustly cast body of globular form supported on three short legs, exterior brightly enamelled in yellow, white, red, and dark blue with large lotus blossoms in two registers amidst leafy scrolls, repeated along the neck, the gilt-bronze rim applied with a pair of flaring upright handles with similar design, all reserved on a turquoise ground. 21.5cm (8 7/16cm) high.Footnotes:十五世紀 銅胎掐絲琺瑯西番蓮紋三足香爐The present lot is extremely rare, particularly for its shape and early date. It is also notable for its solid casting and sophisticated lotus design. With the tall flaring neck and globular body, in some respects it is similar to a zhadou. However, the rounded base means that it had to be supported on three feet rather than a circular foot ring typical of zhadou. The stylised elephantine feet are also unusual. Compare with a cloisonné enamel incense burner with related feet, mid Ming dynasty, in the Qing Court Collection, illustrated in The Compendium of Collections of the Palace Museum: Enamels, 1, Beijing, 2011, p.157, no.72. Compare the lotus designs on the present lot to those on three cloisonné enamel incense burners with interlocking lotus designs, early Ming dynasty, in the Qing Court Collection, and illustrated in Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2011, pp.92-93, nos.25-27; and also a cloisonné enamel incense burner with lion handles, and related lotus design, early Ming dynasty, illustrated in ibid., no.36. Compare also the lotus with that on a cloisonné enamel vase, Jingtai mark and of the period, in the British Museum, London, illustrated by R.Soame Jenyns and W.Watson, Chinese Art: Gold, Silver, Later Bronzes, Cloisonné, Cantonese Enamel, Lacquer, Furniture, Wood, Oxford, 1980, no.73.Compare also the S-shape handles with those on a cloisonné enamel incense burner, Yuan/early Ming dynasty, illustrated by B.Quette, Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, London and New York, 2011, p.229, no.11, where the author notes that 'the shape of the handles is characteristic of the early Ming dynasties'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A VERY RARE GOLD AND SILVER-INLAID BRONZE TAPIR-SHAPED VESSEL, XIZUNSong/Ming DynastyThe stocky, tapir-like mythical beast heavily cast standing foursquare with head facing forward, ears pricked and tail pointed downwards, the body inlaid in silver and gold with geometric scrolls, the head cast in relief with curved brows and a collar encircling the neck, the hollow body fitted with a cover on its back. 18.5cm (7 1/2in) long.Footnotes:宋至明 銅錯金銀犧尊Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.This rare zoomorphic vessel is based on ancient prototypes which originated from at least as early as the Western Zhou dynasty. Tapir-form bronze vessels of this type began to appear in greater numbers in the Eastern Zhou dynasty; compare with a tapir-form vessel, Spring and Autumn or Warring States period, finely inlaid with gold and silver geometric designs, illustrated in Masterworks of Chinese Bronze in the National Palace Museum, Taipei, 1969, pl.25. The examples from the Bronze Age appear to have found favour with the Northern Song Emperor Huizong (reigned 1100-1126), who was a very keen antiquarian and who instigated the publication of illustrated catalogues of the items in his collection. One of these, the 'Xuanhe Illustrated Collection of Antiques' Xuanhe Bogu tulu, included an illustration of such an early bronze vessel. While the original edition would not have been readily available to later craftsmen, it was reprinted on a number of occasions, and the illustration of this zoomorphic vessel appears, for example, in the 1528 edition, known as the Bogu tulu.The name xizun appears in both the Bo gu tu, compiled during the Northern Song dynasty, and the 'Catalogue of the Antiquities in the Xiqing Pavilion', Xiqing gu jian, compiled in the eighteenth century. The word xi meaning 'sacrificial victim', often refers to an ox or another animal.Vessels shaped as tapirs are often dated to the Yuan and Ming dynasties. See, for example, a related bronze 'tapir' vessel inlaid with gold and silver, Yuan dynasty, from the collection of the Saint Louis Art Museum, Saint Louis (acc.no.273:1919), illustrated by P.K.Hu, Later Chinese Bronzes: The Saint Louis Art Museum and Robert E. Kresko Collections, St. Louis, 2008, p.45, fig.3, and another Ming dynasty example, similarly inlaid in gold and silver, in the collection of the Cernuschi Museum, Paris, acc.no.M.C.583.A related gold and silver-inlaid bronze tapir-form vessel, Yuan/Ming dynasty, was sold at Christie's New York, 25 September 2020, lot 1538.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A LARGE GILT-LACQUERED BRONZE FIGURE OF A SEATED BUDDHAMing DynastyThe benevolent figure finely cast, the face in a meditative expression with downcast eyes flanked by pendulous earlobes, crowned by tightly curled hair rising to a high chignon, seated cross-legged with both hands held in dhyana mudra, wearing a long layered robe decorated on the hems with delicate foliate scrolls, open at the chest revealing a wan emblem. 40cm (15 6/8in) high.Footnotes:明 銅漆金佛坐像Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.A similar gilt-bronze figure of Buddha Shakyamuni, 16th/17th century, in the Chang Foundation, is illustrated in Buddhist Images in Gilt Metal, Taipei, 1993, pp.32-33, no.9.Compare with a similar gilt-bronze figure of the Medicine Buddha, late Ming dynasty, sold at Bonhams London, 17 May 2018, lot 127. Compare a related example of a gilt-bronze figure of Medicine Buddha, late Ming dynasty, which was sold at Sotheby's London, 8 November 2017, lot 76. See also a slightly larger gilt-bronze figure of a seated Shakyamuni Buddha, Ming dynasty, which was sold at Sotheby's Hong Kong, 8 April 2014, lot 3060.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CLOISONNÉ ENAMEL DUCK-SHAPED INCENSE BURNER AND COVER16th/17th CenturyFinely modelled in the shape of a duck with its head slightly turned and beak open, its feather decorated in vibrant green, yellow, white, red, turquoise and blue, repeated at the cover, its back with an opening in the shape of feather, its beak and webbed feet gilded, all fixed on a wooden stand in the shape of waves. 18.7cm (7 3/8in) high. (3).Footnotes:十六至十七世紀 銅胎掐絲琺琅鴨形蓋爐Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Compare with a similar cloisonné enamel duck-form incense burner, late Ming dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Enamels, 1, Beijing, 2011, p.276, no.147. See also a pair of closely related cloisonné enamel duck-form incense burners and covers, Ming dynasty, with lotus-leaf stands, in the Victoria and Albert Museum, London (acc.nos.CIRC.187-1923 and CIRC.188-1923). A further pair of Mandarin duck form incense burners, Ming dynasty, depicted standing on a lotus leaf base, illustrated in Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Wares from Mr. Robert Chang's Collection, Suzhou, 2007, pp.118-119.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A VERY RARE PAIR OF CLOISONNÉ ENAMEL AND GILT-BRONZE KNEELING 'FOREIGNER' CANDLESTICKSKangxiEach figure finely cast with one sturdy arm raised to support the shaped drip pan surmounted by a columnar pricket, the other hand resting on the hip, dressed in a tunic with dragons over crashing waves, the lower half with lotus scrolls, the head encircled with a fillet over bushy eyebrows and large bulging eyes, the mouths in gentle smiles between ears suspending loose earrings, each mirroring the other in a half kneel pose. Each 30cm (12in) high. (2).Footnotes:清康熙 鎏金銅胎掐絲琺瑯胡人燭臺一對Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Superbly cast and meticulously decorated with multiple coloured enamels, the present candlesticks are remarkable examples displaying the high standards achieved in the Imperial workshops during the Kangxi reign.Figures of foreigners depicted with large rounded eyes and bushy eyebrows have been a popular subject in Chinese art dating from at least the Tang period, when the increased presence of foreigners in China prompted a new fascination and a gradual stylisation of the image of the foreigner in Chinese art. Painters of Buddhist luohan and tribute missions to the Imperial Court continued the fascination with the exotic in subsequent periods. The strong facial features, curly beards and hair held in place by a curving metal fillet displayed by the present foreigners closely compare with four small foreigners with bare chests kneeling to support a gilt bronze and cloisonné enamel incense of burner, early Qing dynasty: see The Complete Collection of Treasures of the Palace Museum, Metal-Bodied Enamel Ware, Beijing, 2011, p.106, no.79. See also a related cloisonné candlestick supported by a kneeling foreigner, early Qing dynasty, illustrated in Ibid., vol.2, p.139, no.104The combination of cracked designs interspersed with auspicious symbols, such as it can be noted on the drip pans of the present candlesticks, is unusual. The cracked ice design was especially popular on objects produced during the Kangxi reign. See for example, a cloisonné altar set, Kangxi, comprising an incense burner, a pair of candlesticks and a pair of vases, decorated with prunus blossoms on a cracked-ice ground, in the National Palace Museum, Taipei, illustrated in Enamel Ware of the Ch'ing Dynasties, Taipei, 1999, pp.97-100, pls.26-28. Compare a pair of gilt-bronze cloisonné enamel 'foreigner' candlesticks, Kangxi, which was sold at Sotheby's Paris, 13 June 2016, lot 55. See also a related pair of cloisonné candlesticks supported by foreigners, portrayed in a similar stance and attired in similar garments as the present examples, Kangxi, which was sold at Christie's Hong Kong, 30 May 2012, lot 3906. A similar costume is also worn by a single cloisonné enamel and gilt-bronze kneeling figure of a foreigner holding a shallow bowl, Kangxi, which was sold at Sotheby's, New York, 23 March 2004, lot 528. The sleeveless jacket inlaid with a dragon rising from a band of waves recalls the traditional Qing Court robes worn by the single cloisonné figure of a kneeling foreigner holding up a sphere, Kangxi, which was sold at Christie's, Hong Kong, 26 April 1999, lot 561.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE AND LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE 'ELEPHANT' TRIPOD INCENSE BURNER AND COVER, DINGQianlongModelled with deep rounded sides supported on three 'elephant-head' feet, each with a pair of protruding tusks and bejewelled harness, flanked at the shoulders with another pair of 'elephant-head' handles, the body decorated with six lotus blossoms amidst dense foliate scrolls below a ruyi-head and key-fret border, enamelled with vivid red, green, yellow, white, blue, pink and purple on a turquoise ground, the pierced cover with three ruyi-shaped panels decorated with bats and longevity symbols, surrounded by intricately cast gilt openwork with further scrolling lotuses, surmounted by a superbly cast recumbent elephant richly adorned across the body with bejewelled harness and beaded garlands, the saddle with a miniature cloisonné enamel offering bowl with ornately decorated gilt-bronze cover. 42.0cm (16 9/16in) high. (2).Footnotes:清乾隆 銅胎掐絲琺瑯西番蓮紋象耳三足薰爐Provenance: Sir Robert Grenville Harvey (1856-1931) 2nd Baronet, and Lady Emily Blanche Harvey (1872-1935), Langley Park, Buckinghamshire, and thence by descent來源：英格蘭白金漢郡蘭利莊園Robert Grenville Harvey二代從男爵（1856-1931）與Emily Blanche Harvey爵士夫人（1872-1935）伉儷舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing this lot in situ. Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The present lot can be seen in a family photo of Langley Park. The estate which was acquired in 1788 by Robert Bateson Harvey remained in the ownership of the family until 1945.This 'elephant' incense burner exhibits the outstanding quality of enamelling and casting at the highest level, which is characteristic of cloisonné enamel vessels made in the Palace workshops. The exceptional result was due to the technical virtuosity achieved at the cloisonné enamel ateliers during the Qianlong reign; exceptionally demonstrated in the superb jewelled elephant feet and the tour-de-force of the recumbent elephant on top of the vessel, carrying a vase laden with a cornucopia of auspicious representations.Elephants figure prominently in the present lot and lend the incense burner with much auspicious symbolism. The elephant is one of the 'Seven Royal Treasures' associated with sage kings and the Buddha himself. Moreover, the combination of an elephant xiang (象) and a vase ping (瓶), as can be seen on the finial of the present lot, forms a rebus for 'peaceful times', taiping youxiang (太平有象). See also the powerful symbolism demonstrated in a detail from the Imperial Court painting 'Ten Thousand Envoys Come to Pay Tribute', 1761, showing a tribute of an elephant carrying a vase, illustrated by C.Ho and B.Bronson, Splendors of China's Forbidden City: The Glorious Reign of the Emperor Qianlong, London, 2004, pl.82. It is most likely that the present incense burner would have formed part of a pair, which would have been placed in one of the Qing Palace halls; see for example the set of four large incense burners in the Qing Court Collection with tripod elephant-head feet, in situ at the Palace Of Heavenly Purity, Qianqinggong (乾清宮), illustrated in Classics of the Forbidden City: Imperial Furniture of Ming & Qing Dynasties, Beijing, 2008, no.363.Compare with a similar cloisonné enamel tripod incense burner, Qianlong, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Musem: The Enamel Volume, Shenyang, 2007, pp.100-101, no.IV-9; see also a related cloisonné enamel square incense burner and cover, Qianlong, in the Lady Lever Art Gallery, Liverpool, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York, 2011, p.190, fig.10.5.See a similar cloisonné enamel 'elephant' tripod incense burner, Qianlong, which was sold at Sotheby's Hong Kong, 9 October 2007, lot 1308.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE PAIR CLOISONNÉ ENAMEL 'PIGEON' INCENSE BURNERS AND COVERSQianlongEach finely modelled in the form of a pigeon, the feathers delicately enamelled in blue, turquoise, and green, with slight variation in colours of the two 'birds' near the 'belly', in the wings and the tail, the eyes inset with amber and red glass beads, the wings and back forming a detachable cover. Each 18.5cm (7 1/4) long. (4).Footnotes:清乾隆 銅胎掐絲琺瑯鴿形蓋爐一對Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Compare with a very similar cloisonné enamel incense burner in the shape of a dove, Qianlong, in the Musée des Arts Décoratifs, illustrated by B.Quette, Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties, New York and Paris, 2011, no.110. See also a related pair of bird-shaped cloisonné enamel incense burners and covers, second half 18th century, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.328.See a single similar cloisonné enamel 'pigeon' incense burner and cover, Qianlong, which was sold at Christie's New York, 22 March 2013, lot 1187; and another single similar example which was sold at Christie's London, 8 November 2016, lot 125.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN IMPORTANT AND VERY RARE CLOISONNÉ ENAMEL AND GILT-BRONZE CIRCULAR 'CHUN' BOX AND COVERQianlongOf compressed globular form resting on a wide foot, exquisitely decorated in bright enamels on a turquoise ground, the cover with a central medallion enclosing a large Chun character centred by a medallion enclosing Shoulao and his deer below a pine tree, flanked by a pair of writhing five-clawed dragons amidst cloud scrolls and above a large quatrefoil bowl issuing rainbow coloured rays centred by the flaming pearl, Endless Knot and other Auspicious Emblems, encircled by a classic scroll border, the sides of the box and cover with eight lobed cartouches each vividly depicting different scenes with a scholar and boy engaged in various leisurely pursuits in landscape scenes filled with rockwork and lush vegetation including willow, bamboo, pine and paulownia, divided by the Babao, all reserved against floral honeycomb blue and turquoise diaper ground, with a further zigzag band and a border of continuous foliate lingzhi fungus scroll, the heads of Shoulao and the figures delicately modelled in relief as gilt-bronze appliqués, the base decorated with prunus blossoms on a 'cracked-ice' ground. 21.5cm (8 1/2in) diam. (2).Footnotes:清乾隆 鎏金銅胎掐絲琺瑯「春壽」寶盒Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.This remarkable box and cover was previously part of a set likely numbering eight or nine boxes, of which to-date only five similar cloisonné enamel and gilt-bronze 'Chun' boxes and covers with relief gilt-bronze 'face' appliqués, Qianlong, appear to have been published. These include, in addition to the present lot, the two which were sold at Sotheby's Hong Kong, 9 October 2007, lot 1323; one from the T.B. Kitson collection, which was sold at Sotheby's London, 21 February 1961, lot 263, and is now in the Los Angeles County Museum of Art (museum no.M.73.74a-b); and the fifth, from the Pierre Mercier collection, was published by Poly Art Museum, Beijing, The Exhibition of Chinese Bronze and Cloisonné Enamel Wares from the Pierre Mercier and Overseas Collections, Beijing, 2011, no.52, and was later sold at Poly Beijing, 5 December 2013, lot 7169. See also a pair of closely related but larger cloisonné and champlevé enamel and gilt-bronze Chun boxes and covers, Qianlong, which was sold at Christie's Hong Kong, 1 June 2011, lot 3653. The design of the God of Longevity, Shoulao, centred within a Chun ('Spring') character, appeared during the Qianlong period also on carved lacquer boxes and covers, known as Chun Shou baohe, 'Precious box of Spring and Longevity'; see one box in the National Palace Museum, Taipei, illustrated by R.Zhang, Yangxindian zaobanchu shiliao jilan-dierji Qianlong chao (Historical Materials Relating to the Imperial Workshop in Yangxing Dian: Part II Qianlong), Beijing, 2012, p.136, pl.137, and another similar box, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, p.88, pl.61. The design, however, was first introduced during the Jiajing reign of the Ming dynasty (1522-1566). Compare with a polychrome lacquer carved 'Chun' box, Jiajing, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, p.176, no.134; and see also another similar box, illustrated in Carving the Subtle Radiance of Colours: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.97, pl.87. The design of Shoulao, his deer, and the depiction of cranes are all symbolic of the wish for long life. The character Chun, Spring, is a metaphor for youth and fertility. Combined, they impart auspicious wishes to the emperor of long life and eternal youth. The cartouches alternate with the Eight Treasures (Babao), the wish-granting pearl, double lozenges, stone chime, pair of rhinoceros horns, cash, ingot, coral, and ruyi. The box and cover are decorated with eight ruyi-shaped cartouches, each enclosing a figural scene with a sage and attendant within landscape. They each represent a different renowned literatus, who was a scholar, poet or calligrapher, shown in the form of a scholar-official or sage with his attendant and in a scene depicting an attributable feature of anecdotal story unique to the person. They share the characteristic of pursuing a particular devotion, often leading a life of a recluse in preference over civic duties.In the context of the Qing Manchu Court, referencing these highly renowned Han literati on a vessel specially commissioned for the Imperial Court, exemplifies the Manchu emperors' and specifically the Qianlong emperor's intellectual ambitions and endeavours to formulate their image as learned scholars sustaining the values embodied in China's past. The Qianlong emperor wrote thousands of poems, practiced calligraphy and played the qin. He also formed one of the most important collections of art. Therefore the reference to the famous literati, the values they held and their artwork, would have held a special meaning to him. These are on the cover: 1. A scholar and attendant are shown in front of two cranes below a willow tree. Cranes are symbolic of long life. The sage depicted may be Lin Hejing also known as Lin Bu (967-1028 AD), a Northern Song dynasty renowned poet, calligrapher and scholar who lived as a recluse by the West Lake in Hangzhou. Although he was offered prestigious government positions, he refused all civic duties to pursue poetry. He is known to have loved plum blossoms and to raise cranes. It was said that the plum tree was his wife and the cranes his children. 2. A male attendant is offering a goose to a sage seated under bamboo. This scene could be identified as depicting the story of Wang Xizhi catching the goose. Wang Xizhi, regarded as the greatest Chinese calligrapher, was a writer and politician who lived during the Jin dynasty (265–420 AD), and known for his hobby of rearing geese.3. A sag... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE 'MELON' BOX AND COVER18th centuryFinely modelled as a lobed melon and applied in high relief with gilt bronze tendrils issuing leaves, all on a diaper pattern ground interspersed with floral designs and repeated at the box. 13.4cm (5 1/4) long. (2).Footnotes:十八世紀 銅胎掐絲琺琅瓜形蓋盒Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Compare with a fan-shaped cloisonné enamel covered box, mid Qing dynasty, decorated with a very similar patterned ground, at the Qing Court Collection and illustrated in the Compendium of Collections in the Palace Museum: Enamels 3, Cloisonné in the Qing Dynasty, Beijing, 2011, pp.313, no.272This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF CLOISONNÉ AND CHAMPLEVÉ ENAMEL CAPARISONED ELEPHANTS AND VASESMid Qing DynastyEach cast standing foursquare the heads with almond eyes swaying slightly to the sides, the trunks curled between long tusks, the striated cream body caparisoned with a saddle rug decorated with ruyi-clouds supporting a baluster vase. Each 26cm (10 1/2in) high. (2).Footnotes:清中期 掐絲及鏨胎琺瑯「太平有象」一對Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Models of elephants were very popular in Imperial China and made from various media to adorn halls and throne rooms throughout the Imperial palaces. They are associated with strength, wisdom and long-life and are also significant animals within the Buddhist religion. A prominent member of the Buddhist pantheon, Samantabhadra (Puxian), is frequently shown seated on an elephant. They are considered guardians of honour and were symbols of peace and good harvests. The elephant in China is also one of the seven Buddhist Sacred Treasures and symbolises peace. The combination of a vase ping 瓶), punning with 'peace' ping 平), and elephant xiang 象, homophone with the word for 'sign' or 'portent', forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is a sign (or elephant)'. See a related example of a gilt-bronze and cloisonné enamel elephant, 18th century, illustrated in the Compendium Collection of the Palace Museum: Enamelled wares, Beijing, 2010, vol.4, pls.84 and 85. See also a pair of similar cloisonné elephants, 18th century, from the Shenyang Palace Museum, illustrated by R.L.Thorp, Son of Heaven: Imperial Arts of China, Seattle, 1988, p.97.The present pair is particularly sumptuous in utilising both cloisonné and champlevé enamel techniques, in the naturalistic folds of of the skin denoted by the rounded gilt-bronze wires, the detailed enamelled caparison and the finely chased flower-heads adorning it. Above all, the pair is surmounted by opulent richly gilt vases finely decorated with archaistic taotie masks and champlevé lotus blossoms and lappets, making the present pair a rare example of its type.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A VERY LARGE AND RARE CLOISONNÉ ENAMEL 'WATER BUFFALO AND HERDBOY' INCENSE BURNER AND COVER18th centuryThe 'water buffalo' modelled standing with its head turned back, the black body with pale patches and inlaid with wavy gilded cloisons representing the patterned skin and hair, surmounted by a gilded figure of a seated herdboy playing a flute, removable, as the cover of the incense burner. 40.5cm (15 15/16in) long, 42.9cm (16 7/8in) high. (2).Footnotes:十八世紀 銅胎掐絲琺琅「牧童水牛」蓋爐Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Incense burners of comparable size and with designs as the present lot are rare. For a nearly identical but mirror image of this lot, a possible pair with this lot, see a cloisonné enamel 'buffalo and boy' incense burner and cover, 18th century, in the Metropolitan Museum of Art, New York, acc.no.30.128.2a–c.The refined quality of the enamels decorating the present buffalo and boy group highlights its skilful representation of an auspicious scene in the natural world. The reclining buffalo, a symbol of strength and tranquillity, is also associated with spring and agriculture because of its role in pulling ploughs. According to scholarly research, from the Ming dynasty, buffaloes were often depicted at rest with their head turned 90 degrees, as seen in the present lot, to indicate that the world was at peace; see J.C.S.Lin, The Immortal Stone, Cambridge, 2009, p.51. As a familiar beast of the fields, the buffalo underpinned rice production and the rural economy. As such, the creature is emblematic of agriculture and spring time and represents strength, endurance, dedication to hard work, prosperity and tranquillity. When depicted with a young boy riding on its back, this motif represents obedience and serenity. Even a small child can ride an animal of this size and strength without fear. Buffalos are also used in artistic representation, in particular Chinese paintings, to evoke a bucolic, idealised existence in the countryside. This in turn feeds into a more mythical or spiritual side to the buffalo, recalling both Buddhist and Daoist concerns with simplicity and retreat, and the founder of Daoism, the philosopher Laozi, who departed from the borders of the known world on a buffalo.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN EXCEPTIONALLY RARE AND IMPORTANT GOLD GEM-INSET FIGURE OF AN 'ABLE MINISTER'QianlongSuperbly modelled, seated with the right hand raised as if to hold an implement, the left resting on his lap, dressed in multiple loose robes opened at the chest and tied with a double knot, finely incised with floral designs at the hem and decorated with intricate filigree designs of ruyi and clouds inset with tourmaline, pearls and turquoise, wearing a billowing scarf around the shoulders, the well-defined face with a serene expression defined by a gentle smile framed by neatly adorned hair gathered up in a high chignon, fitted box. 13cm (5in) high, overall 560g, tested for high gold purity. (2).Footnotes:清乾隆 金嵌寶七珍「主藏臣寳」像Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The present figure, made of gold of exceptionally high purity, is exceedingly rare and notable for the impeccable casting, the high-quality gilding, the meticulous filigree work and the setting of semi-precious stones adorning the garments, and generous use of the precious metal. Works displaying such a high-level of workmanship were undoubtedly produced by the Imperial workshops at the time and destined for use at the Imperial Court.This gold figure was part of a set of 'The Seven Royal Treasures', which would have been placed on an altar. See a related jade and semi-precious stone-inlaid set of the 'Seven Royal Treasures' on sandalwood stands, and a similar figure of an 'Able Minister', 18th century, in the Qing Court Collection, the Palace Museum, Beijing, illustrated by E.Rawski and J.Rawson, China: The Three Emperors 1662-1795, London, 2005, p.140, no.45. The set includes a Golden Wheel, Swift Horse, White Elephant, Loyal General, Able Minister of the Treasury, Jewels of Omen, and Divine Pearls. The present lot can therefore be identified as 'Able Minister of the Treasury' similar to the one in the jade set in the Palace Museum, Beijing. See also a related altar quintet of the 'Eight Auspicious Treasures' in jewel-inlaid gold-filigree, Yongzheng, illustrated in Harmony and Integrity: The Yongzheng Emperor and His Times, 2009, Taipei, p.143.According to the Indian myth, only the 'Wheel-turning Sage King' (Sanskrit: cakravarti-raja) possessed the 'Seven Treasures', which would aid him in ruling his domain. Later, the 'Seven Royal Treasures' were inherited by Buddhism and taken as offerings presented to Shakyamuni Buddha. Besides, the association of the 'Seven Treasures' with the Sage Kings, with whom the Chinese emperors often liked to identify themselves, made the symbols a highly auspicious motif for decoration in the Imperial palace. The Qing Court funnelled immense resources into their religious projects through the Imperial Household Department (Neiwu fu) and the Ministry of Rites. The Kangxi, Yongzheng and Qianlong emperors alone established dozens of temples in Beijing, most of them dedicated to Tibetan Buddhism and the Confucian rituals of the state. But daily records of the Court also show that they promoted many other religious activities, especially shrines for their own Manchu spirits, for the Chinese war god Guandi, and for the beloved bodhisattva of compassion, Guanyin. They personally performed Daoist-inspired acts of abject penitence before local dragon-gods during years of drought, and patronised such popular Daoist figures. The use of semi-precious stones insets, such as tourmaline, pearls and turquoise, on gold, appears to be a revival of a Ming dynasty practice which can be seen on vessels dating to the fifteenth century. The early Ming emperors were expansionist and outward-looking, and following Admiral Zheng He's seven voyages across the 'Western Oceans', gems from Southeast Asia, India and Sri Lanka, started to be imported into China along with gold, spices and exotic animals; see for instance a gold ewer, Ming dynasty, decorated with dragons and inset with similar stones as the present lot, illustrated in Art of China. Highlights from the Philadelphia Museum of Art, Philadelphia, 2018, p.97, and a rectangular gem-inset gold 'dragon' plaque, early Ming dynasty, illustrated in Ming: Fifty Years that changed China, London, 2014, pp.108-109, fig.98. For Qing dynasty examples of goldwork and inlay, see a gold gourd-shaped ewer for wine, inlaid with pearls, rubies, coral, and other semi-precious stones, Qianlong, illustrated in Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong, New York, 2004, p.193, no.235.Goldwork in the Qing dynasty is extremely rare and usually would have been commissioned by the Imperial Court. See for example, two gold cups 'of Eternal Stability', circa 1739-1740 and 1740-1741, commissioned by the Qianlong emperor to drink a special herbal drink during ceremonies relating to the Chinese New Year, in the Wallace Collection, London (acc.nos.W113 and W112). Originally a set of four, the other two are in the Palace Museums in Beijing and Taipei. This shows the close connection between goldwork and the Imperial Court.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A WHITE JADE 'BOYS' BRUSHWASHER AND A COVER18th century Finely modelled with deep rounded sides rising from a circular ring foot, the handles formed from four boys fashioned in the round, each vividly portrayed in a different posture and holding a different implement including a pomegranate, a sheng, and a flower, all dressed in short jackets and trousers, their faces with a cheerful expression and the hair gathered into a topknot, the cover finely carved with a sinuous chilong, the well-polished stone of translucent pale green colour with faint grey and cloudy inclusions. 10.5cm (4 1/8in) wide. (2).Footnotes:十八世紀 白玉童子耳洗連蓋Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The present vessel, surrounded by small figures of boys, is closely related to the bowls and cups made with similar composition of boys clinging to the rims of the vessel, usually forming the handles; see a green jade cup flanked by children playing games, Qing dynasty, illustrated in Compendiums of Collections in the Palace Museum. Jade, vol.10, Beijing, 2011, no.152, and a white jade washer with handles shaped as children, Qing dynasty, Ibid., no.199. The combination of children decorating vessels appears to have been popular from at least the Song dynasty; for a Song dynasty example, see a green jade cup flanked by 'boys' handles, in Ibid., no.56.Compare with a related green jade waterpot surrounded by children, Qianlong, which was sold at Christie's Hong Kong, 28 November 2006, lot 1376; and a white jade 'boys' incense burner, Qianlong, which was sold at Sotheby's Hong Kong, 3 October 2017, lot 3604.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A PALE GREEN JADE CARVING OF A BUDDHIST LION19th century The beast carved recumbent with a joyful expression defined by bulging eyes and semi-opened fangs, its head turned backward and the bushy tail swept upward, the jade of pale green tone with faint cloudy inclusions. 11cm (4 2/8in) wide.Footnotes:十九世紀 青玉佛獅Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A WHITE AND RUSSET JADE 'DOUBLE BADGER' GROUP18th century The creatures finely carved facing each other, each grasping one end of a lingzhi stem in its mouth, the stone of a pale even white tone with soft polish and small russet inclusions. 7.5cm (3in) wide. Footnotes:十八世紀 玉雕雙獾Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The Chinese word for badger, 獾 huan, is homophone with the word for happiness, 歡 huan. In this case, a pair of badgers, 雙獾 shuanghuan, stands for conjugal joy, an intimacy that is skilfully portrayed by the carver in posing the two animal gently entwined together.Compare a related white jade 'double badger' group from the Tuyet Nguyet Collection, illustrated by H.K.F.Hui and T.Y.Pang, Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2007, no.103. A related white jade 'double badger' group, 18th century, was sold at Bonhams Hong Kong, 27 November 2014, lot 106.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
AN AMETHYST CARVING OF A GOAT AND TWO YOUNG, SANYANG19th century The stone finely carved in the round as three recumbent goats, sanyang, each with almond-shaped eyes, floppy ears, a pair of curved horns relaxed against the neck, the parent's head turned backward toward the young. 7cm (2 6/8in) long.Footnotes:十九世紀 紫晶三羊開泰Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The character for sheep or goat, yang (羊), appeared as early as the Han dynasty and is homophone with the word for auspicious or lucky. By the Qing period, the image of sheep had become heavily associated with the sun, warm, positive, masculine force in Chinese cosmology, also pronounced yang. The development of the sheep into a group of three, sanyang, is a reference to the favourable arrival of spring, since the phrase sanyang kaitai (三陽開泰), points to the period between the winter solstice and the New Year. This was the period when the warm yang energy is emerging, as detailed in the ancient Chinese classic of prognostication, the Yijing, or 'Book of Changes'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A LARGE SOAPSTONE FIGURE OF ZHANG GUOLAO17th/18th century The Immortal finely carved standing on rockwork, with a long beard and a smiling expression, wearing a scholar's cap and long flowing robes incised with striding dragons amidst clouds and a large Shou character, holding a large bamboo drum in his hands, traces of gilt and coloured pigments. 45cm (17 6/8in) high.Footnotes:十七/十八世紀 壽山石雕張果老立像Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Zhang Guolao, one of the Eight Immortals, is recognisable by his tube-shaped bamboo drum, sometimes with mallets or rods. Compare with a related soapstone figure of Zhang Guolao, 18th century, illustrated by Ho Kam-chuen, Splendour of the Qing Dynasty, Hong Kong, 1992, p.384, no.250; see another example illustrated by M.Eberle, Götter aus Stein: Die Sammlung chinesischer Specksteinfiguren auf Schloss Friedenstien Gotha, Gotha, 2015, no.213.Compare with a related soapstone figure of Zhang Guolao, 18th century, which was sold at Christie's London, 8 November 2013, lot 1410.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE CLOISONNÉ ENAMEL 'DA JI' DOUBLE GOURD VASEQianlongElegantly modelled with a large globular lower bulb with four stepped cartouches containing the characters Ji, supporting a slightly smaller upper bulb with a further four stepped cartouches containing the characters da, rising to a waisted neck with a narrow mouth, entirely decorated around the body in vibrant tones of yellow, blue, red and white enamel with geometric diamond-patterns, the foot and central waist with bands of floral scrolls, the mouth with pendant plantain leaves. 28.7cm (11 1/4in) high. Footnotes:清乾隆 銅胎掐絲琺瑯「大吉」葫蘆瓶Provenance: Roger Keverne Ltd., LondonPublished, Illustrated and Exhibited: R.Keverne, Summer Exhibition, 2010, London, p.94, no.69.來源：倫敦古董商Roger Keverne Ltd.展覽著錄：R.Keverne著，《夏季展覽》，倫敦，2010年，頁94，編號69See an identical cloisonné enamel double gourd vase, Qianlong, likely the pair to the present lot, in the Metropolitan Museum of Art, New York, illustrated by B, Quette, Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York and Paris, p.274, no.99, where the author notes that the geometric pattern is rare on cloisonné enamel but more often found on piecework textiles 'intended for use in Tibetan Buddhist rituals, notably to cover cymbals or for placement under ritual objects'. The pattern derives from Ming dynasty textiles; see He Li and M.Knight, Power and Glory: Court Arts of China's Ming Dynasty, San Francisco, 2016, no.44.The characters Da Ji express the wish for good fortune and are frequently used to decorate vessels of double-gourd shape. The bottle gourd itself is associated with the Eight Daoist Immortals, particularly with Li Tieguai who used the gourd as a container for medicine. Daoist fairies are also often depicted with double gourds from which fly five red bats – representing the Five Blessings. Double gourds are also symbolic of prosperity and abundance, and in particular, an abundance of male children, which is further reinforced by the characters, da ji, meaning 'highly auspicious', in enamel. As a specific rebus, because they are born from leafy tendrils, the phrase for bottle gourds on a vine is huluman, while the combination of vines with tendrils reads as mandai: these two phrases together suggest the rebus hulu wandai 'May you have numerous descendants'.For further information on this lot please visit Bonhams.com
HAYASHI KODENJIA Cloisonné-Enamel Rounded Rectangular Box and Cover Meiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryDelicately worked in thick sculpted and tapered gold and silver wire, the cover decorated with a cargo boat containing bales of rice moored among windswept grasses, in front of a smaller boat, a snow-capped Mount Fuji looming in the background reserved on a graduated blue ground, the sides of the cover and box with a band of repeated lappets enclosing foliate motifs, the underside signed in silver wire with the lozenge-shaped seal mark of the Hayashi Kodenji Company; with a cloth-covered storage box. 4.2cm x 10cm x 8.6cm (1 9/16in x 4in x 3 3/8in). (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
HAYASHI KODENJIA Cloisonné-Enamel Kogo (Box for Storing Incense) Meiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryDelicately worked in sculpted and tapered gold and silver wire of varying gauge, the cover decorated with two sailing boats at the foot of a snow-capped Mount Fuji looming in the background, a pine grove on a rocky inlets in the foreground, all reserved on a graduated blue ground, the sides of the cover and box with a band of repeated lappets enclosing foliate motifs, the rims of silver, the underside signed in silver wire with the lozenge-shaped seal mark of the Hayashi Kodenji Company. 4cm x 7.6cm (1 9/16in x 3in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL DISHMeiji era (1868-1912), late 19th/early 20th centuryWorked in gilt wire with a humorous scene of frogs battling it out on lotus leaves on a mustard-yellow ground, the underside with a gilt-wire whorl-patterned ground; unsigned. 30.5cm (12in) diam.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL DISHMeiji era (1868-1912), late 19th/early 20th centuryWorked in silver wire with a mass of tightly clustered assorted chrysanthemums on a turquoise ground, the underside with scattered stylised blooms on a gilt wire whorl-patterned ground; unsigned. 31cm (12 1/8in) diam.For further information on this lot please visit Bonhams.com
HAYASHI TANIGORO OF NAGOYASix Matching Cloisonné-Enamel Chawan (Tea Bowls) and Covers Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach bowl intricately worked in gold wire of varying gauge with stylised motifs of butterflies and exotic long-tailed birds hovering amongst floral sprays and maple leaves, the covers similarly embellished, all reserved on a peach ground, the rims and feet applied in silver; each bowl signed on the base in silver wire with seal Hayashi Tani. Each tea bowl: 8.2cm x 12cm (3¼in x 4¾in). (12).Footnotes:A pair of identical covered bowls by the same artist, in the Kiyomizu Sannenzaka Museum in Kyoto, is illustrated by the Sano Museum, Meiji no shippo: Seki o miryo shita waza to bi: Kindai kogei no hana: Meiji no shippo, exhibition catalogue, Mishima, Shizuoka Prefecture, 2008, p.34, pl.39.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
OTA TOSHIRO (1869-1940)A Cloisonné-Enamel Four-Sided Vase Meiji era (1868-1912), early 20th centuryThe faceted vase with an elongated body and worked in gilt and silver wire and polychrome enamel with four elaborate lobed panels containing a different flower-and-bird of the seasons comprising: (1) A peacock perched on a rock issuing with peonies; (2) A wagtail in flight among flowering chrysanthemums; (3) A pheasant standing on a rocky ledge beneath branches of maple; (4) A pair of swallows flying beneath trailing wisteria; the neck, shoulder and foot adorned with closely clustered repeated geometric, hanabishi-mon (flowery-diamond crests) and shippo-tsunagi (linked-cash) and tight whorl patterns; signed on the base with two impressed characters Ota within a koro-shaped seal. 24.7cm (9¾in) high.For further information on this lot please visit Bonhams.com
A CLOISONNÉ-ENAMEL KORO (INCENSE BURNER) AND COVERMeiji era (1868-1912), late 19th/early 20th centuryThe body applied with three cloisonné-enamel panels, each worked in silver wire and depicting a different kacho-ga (bird-and-flower picture) applied on a tight whorl patterned russet-red ground, the interior lined in gilt, the en-suite cover applied with two cloisonné-enamelled butterflies; unsigned. 8.5cm (3 3/8in) high. (2).For further information on this lot please visit Bonhams.com
NAMIKAWA YASUYUKI (1845-1927) OF KYOTOA Cloisonné-Enamel Miniature Squat Jar and Cover Meiji era (1868-1912), early 20th centuryFinely worked in silver and gilt wire and decorated with butterflies hovering among meandering sprays of stylised chrysanthemum and other blossoms on a lightly mottled salmon-pink ground, the shoulder with a tightly clustered lobed band enclosing formal foliate motifs, the domed cover embellished with similar sprays of chrysanthemums and surmounted by a chrysanthemum finial, applied with a gilt brass rim and foot, signed on the base with chiselled characters Kyoto Namikawa on a silver plaque; with a wood storage box. 8.5cm (3 3/8in) high. (3).Footnotes:Published and illustrated:Sano Museum, Meiji no shippo: Sekai o miryo shita waza to bi: Kindai kogei no hana, exhibition catalogue, Mishima, Shizuoka Prefecture, 2008, p.64, pl.73.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GONDA HIROSUKE (1865-1937)A Pair of Cloisonné-Enamel Moriage Presentation Vases Showa era (1926-1989), circa 1932Each vase decorated in relief and worked in silver wire and pastel-coloured enamels of different tones of green, brown and white, each vase showing a snow-capped Mount Fuji rising in the distance over a rustic landscape, rendered in the Nihonga (neo-nativist painting) manner, one vase with a watermill partially obscured among cedar trees, a rushing stream flanked with rocks in the foreground, the second vase depicting in the background a lone farmer returning home, water rushing through rocks in the foreground, discrete details on the foliage on the trees enhanced by silver wire, all reserved on a pale-beige cream ground, applied with silver rims and feet, each vase incised on the base with a presentation inscription Keibaho jisshi junen kinen keiba, Sho, Shadan Hojin Teikoku Keiba Kyokai, Showa shichinen ichigatsu Hakuryuen kinsei (Horseracing award in commemoration of the tenth anniversary of the Horseracing Law, presented by the Imperial Horseracing Association, January 1932, respectfully made by Hakuryuen [Gonda Hirosuke]) with two wood stands and the original custom-made velvet storage box, stamped with the same inscription. Each vase: 31cm (12 1/8in) high. (5).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A PAIR OF CLOISONNÉ-ENAMEL BALUSTER VASESMeiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryEach vase in the style of Namikawa Yasuyuki, finely worked in silver and gilt wire with an identical design, the body with large speckled pale-pink and mustard shields enclosing white writhing three-clawed dragons alternating with ho-o birds beneath a shoulder of chrysanthemums interwoven among karakusa ('Chinese grasses'), the neck encircled with lappets enclosing stylised bird-and-flower motifs; both vases unsigned. Each vase: 30.8cm (12in) high. (2).For further information on this lot please visit Bonhams.com
GONDA HIROSUKE LINEAGEA Cloisonné-Enamel and Musen Tall Baluster Vase Taisho (1912-1926) or Showa (1926-1989) era, 20th centuryDecorated in partly musen (wireless) and yusen (wired) enamels with a shimenawa (sacred rope) tied around the trunk of a gnarled pine tree on the seashore at low tide in the foreground, the sun setting in the background, applied with a silver rim and foot, signed with the enamelled mark of Gonda Hirosuke on the base; with a wood stand and a plain wood storage box. 31.5cm (12 3/8in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A GROUP OF 53 ASSORTED OJIME (FASTENERS)Edo period (1615-1868) to Meiji era (1868-1912), mid-19th to early 20th centuryComprising ojime of various shapes, sizes and materials, including nine of carved wood, four of cloisonné-enamel, three of porcelain Kutani ware, two of glass, four of lacquered wood, the remainder of mixed metal, ten inlaid with different designs, others engraved or pierced, a few illegibly signed, including one signed Minto, one possibly signed Chosai and one signed Shichijukyu so [...]oku (Old man of 79 years old, [...]oku). The largest: 2.2cm (5/8in). (53).For further information on this lot please visit Bonhams.com
ANDO JUBEI COMPANYA Fine Cloisonné-Enamel Moriage Baluster Vase Meiji (1868-1912) or Taisho (1912-1926) era, 20th centuryWorked in silver wire of varying gauge with a continuous flamboyant design of three three-clawed dragons chasing a flaming tama (jewel) camouflaged among wisps of cloud, rendered in semi-abstract style and different shades of green, blue, and orange reserved on a pale grey ground suffused with blue, applied with a silver rim and foot, signed on the base in silver wire with the mark of Ando Jubei; with a wood stand and a plain wood storage box. 22cm (8 5/8in) high. (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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