This poster has been given one of the highest rarity rating by the industry bible for Star Wars posters. Stephen Sansweet's "Star Wars Poster Book". Featuring Drew Struzan's awesome "Revenge" artwork, this is an original Advance 'The Saga Continues, In Your Galaxy Soon' 1983 British Quad film poster for "Star Wars: Episode VI - Return of the Jedi". Beautiful deep unfaded colours and presented in totally original and unrestored rolled (as issued) condition.30" x 40" (76 x 102 cm)Additional Information: Printed by Lonsdale & Bartholomew Ltd. NottinghamCondition: Very Good to ExcellentUnrestored, rolled (as issued). Excellent condition, minimal handling and age wear, two 1/4" and 1/2" nicks bottom edge (amateur repair).Artist: Drew Struzan£400 - 600VAT Status: M
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"The Empire Falls". With an updated 'darker' toned design by Feref Associates based upon Josh Kirby's original artwork for the 1983 British release of "Return of the Jedi". This revised second version British UK Quad was produced to be more in keeping with the US campaign by Kazu Sano and now features the Ewoks.30" x 40" (76 x 102 cm)Additional Information: Printed by Lonsdale & Bartholomew Ltd. NottinghamCondition: Very GoodUnrestored, rolled (as issued) light handling wear, 3" diagonal crease to bottom left corner, 1/4" nick, 2" diagonal crease to bottom right corner, right edge 1/2" clean tease. 4x small nicks top edge 1/8" to 1/4". Artist: Josh Kirby, Kazu Sano, Feref£200 - 300VAT Status: M
Artist Josh Kirby painted a colourful all-action sweeping montage exclusively for the 1983 British release of "Star Wars: Episode VI - Return of the Jedi". These early version UK Quad film posters were nearly all produced slightly trimmed almost entirely for advertising use in the London Underground. But the version offered here is a full-size UK Quad size measuring 30" x 40". This more colourful version was quickly replaced by Kasu Sano's updated design which featured the Ewoks.30" x 40" (76 x 102 cm)Additional Information: Printed by Lonsdale & Bartholomew Ltd. NottinghamCondition: Very Good to ExcellentUnrestored, rolled (as issued) light, soft creases to bottom edge. Artist: Josh Kirby and Feref£200 - 300VAT Status: M
An Advance UK Quad film poster featuring Drew Struzan's artwork for Star Wars: Episode IV, the third movie in Lucas' original Star Wars trilogy "Return of the Jedi" (1983). Although the first examples printed (in USA) featuring Struzan's artwork were titled 'Revenge of the Jedi', in the UK the correct title for the movie was used. Widely considered one of the 'best' original trilogy poster designs and perfectly suited to this landscape format. Genuinely very scarce.30" x 40" (76 x 102 cm)Additional Information: Printed in England by Lonsdale & Bartholomew Limited, NottinghamCondition: Very GoodUnrestored, folded (as issued), minor handling wear relevant to age. No pinholes, tears or paper loss.Artist: Drew Struzan£300 - 500VAT Status: M
Country of origin, British UK Quad poster for the debut Sean Connery James Bond film "Dr. No" (1962). The Mitchell Hooks poster illustration establishes Bond's credentials as a suave but dangerous character, the sex appeal in the film being clearly evident. The famous "007" gun logo (so synonymous with the franchise even to present day) designed by Joseph Caroff also appears for the first time on the poster. Originally folded, this unrestored example displays and presents to excellent effect with truly vibrant colours. The bright yellow background and red lettering is often a weak point on this poster as it fades very easily, but that isn't the case here. This is one of the best examples I have had to appraise, with only single pinholes to each corner the only proof it was ever used.30" x 40" (76 x 102 cm)Additional Information: Printed by Stafford & Co, Ltd. Netherfield, Nottingham and LondonCondition: Very Good to ExcellentUnrestored, folded with single pin-holes to corners. Overall it displays to truly excellent effect.Artist: Mitchell Hooks£8000 - 10000VAT Status: M
From first Italian release in 1964 comes a fine group of six full-colour Photobustas for "From Russia With Love" (1963) A 007, Dalla Russia Con Amore. Five of the six posters feature Connery as 007 with the sixth one showing the notorious (for the time) gypsy-camp female fight scene. All are presented in a landscape format with border artwork by Renato Fratini. Any early Italian paper from this Bond title is incredibly scarce.18.25" x 26.5" (46.5 x 67.25 cm)Additional Information: Stampata in Italia DA Vecchioni & Guadagno - Roma 1964Condition: Poor to FairUnrestored, flat with single vertical fold line. There are some noticeable defects for each poster including pinholes, creasing and some paper loss.Artist: Unknown Artist£200 - 300VAT Status: M
Country of origin, British UK Quad poster for Sean Connery's fourth outing as 007 "Thunderball" (1965). After the more subtle and stylised design used on the previous Bond film "Goldfinger", it was a return to the more traditional painted artwork for "Thunderball". The Robert McGinnis illustration (his first Bond campaign) places Bond centre stage in a scuba diving wetsuit amongst a group of scantily swimsuited Bond women. The famous "007" logo (so synonymous with the franchise even to present day) placed top left has been cleverly integrated into the "Look Out" tagline. Originally rolled, this scarce example remains in original unrestored condition with strong bright colours. It does have some obvious defects and age wear but nothing that couldn't be attended to by a qualified paper restorer. The condition issues are taken into account with a very competitive price guide. 30" x 40" (76 x 102 cm)Additional Information: Printed in England by Stafford & Co Ltd. Nottingham & LondonCondition: FairUnrestored, rolled (as issued) - central image area of Bond with females and titles are overall very good with strong, unfaded colours with defects largely to edge/border areas. Multiple scattered pinholes with an enlarged pinhole above "HARRY" credit. Left and right areas - creasing, indentations, staining/age discolouration. Top edge - creasing, four-five small nicks, staining, scuffs. Bottom edge - creasing, four 1" tears, four/five minor nicks. Reverse is off-white and has some age staining but no bleed through to front. Artist: Robert McGinnis£1000 - 2000VAT Status: M
The Italian first release 4-Foglio for "You Only Live Twice" (1967) bucked the trend for all-action Bond poster design as Italian artist Otello Mauro Innocenti adapted the typical McGinnis illustration of Bond, setting him against a bright red backdrop. Simple, yet very effective.55" x 78" (40 x 198 cm)Additional Information: Printed in Italy by Vecchioni & Guadagno, Via del Casale de Merode, 8 . Roma - Agosto 1967 Condition: Very GoodUnrestored, folded (as issued). Presented in two sections, designed to be overlapped to display. The poster has a few light creases and minor fold line wear with some knicks and tears related to age and handling but overall is in very good condition with no pinholes.Artist: Otello Mauro Innocenti£200 - 300VAT Status: M
A series of three main general release poster designs were commissioned to promote Sean Connery's fifth outing as 007 "You Only Live Twice" (1967) with artwork by both Robert McGinnis and Frank McCarthy used. Of the three different styles produced for the film, the "Style-C" 'Bath-Tub' is the most difficult poster to find. Whereas "action" is the key selling point of the two Frank McCarthy designs, McGinnis focuses on Bond's sex appeal with his poster design with risqué artwork featuring a Japanese 'geisha' girl with her hand washing below the waterline near to Bond's groin area. The original 1967 Style C country of origin British UK Quad movie poster offered here is presented in excellent unrestored, folded (as issued) condition and perfectly suited to the landscape style for which it McGinnis designed it for.31" x 41" (78 x 104 cm)Additional Information: Printed by Lonsdale & Bartholomew Ltd. NottinghamCondition: ExcellentUnrestored, folded (as issued). Minimal of handling and age wear. Strong, unfaded colours and bright white background.Artist: Robert McGinnis£1500 - 2500VAT Status: M Payment plans are not available for this lot. Please contact us for further information.
A rare iron inro in the form of a kabuto (helmet)Edo period (1615-1868), 19th centuryThe shallow rounded bowl overlaid with silver ridges and surmounted by a silver tehen kanamono in the form of a chrysanthemum, the fukigaeshi (turnbacks) applied with gilt rain dragons and the maedate (forecrest) in the form of an oni (demon), the outer top edge of the helmet applied with three silver foliate crests, the underside fitted with a hinged clasp which lifts to reveal within two removable drawers, with an iron ojime and an iron netsuke in the form of a stirrup decorated with the same foliate mon; unsigned. 7.3cm (2 7/8in) diam. (3).Footnotes:Published:Sagemonoya, Sagemono & Netsuke, Tokyo, 1995, p.15, no.15.Tobacco and Salt Museum, Netsuke: Te no hira no naka no geijutsu (Netsuke: Art in the Palm of the Hand), Tokyo, Benrido, 1995, p.134, no.466.For further information on this lot please visit Bonhams.com
A group of reference books on Japanese ArtComprising the following: Sekai toki zenshu (Complete World Ceramics) vol.2, Tokyo, Shogakkan, 1979; Audsley, George Ashdown and Bowes, James Lord, Keramic Art of Japan, London, Henry Sotheran and Co., 1875, complete set of two volumes; Audsley, George Ashdown, The Ornamental Arts of Japan, Mineola, NY, Dover Publications, 2008; Buckland, Rosina, Shunga: Erotic Art in Japan, London, British Museum Press, 2010; Cardeiro, C. Philip, Hirado Ware: Japanese Hirado Porcelain 1640-1909, exhibition catalogue, Monterey, Art Asia Museum, 1989; Collcutt, Martin; Jansen, Marius; and Kumakura Isao, Cultural Atlas of Japan, Oxford, Phaidon Press, 1988; Egami Namio and Bester, John, trans., The Beginnings of Japanese Art, New York, Weatherhill, 1978; Garner, Harry, Chinese and Japanese Cloisonné Enamels, Oxford, Faber and Faber, 1977 (first published 1962); Gorham, Hazel H., Japanese and Oriental Ceramics, Rutland, VT, Charles E. Tuttle, 1978 (first published 1970); Guth, Christine, Japanese Art of the Edo Period, London, George Weidenfeld and Nicolson, 1996; Impey, Oliver and Seaman, Joyce, Japanese Decorative Arts of the Meiji Period, Oxford, Ashmolean Museum, 2005; Irvine, Gregory, Japanese Cloisonné Enamels: The Seven Treasures, Hong Kong, V&A Publishing, 2011; Itsuki Ken (ed.), The Dawns of Tradition, Japan, Nissan Motor, 1983; Joly, Henri L., and Kumasaku, Tomita, Japanese Art & Handicraft, Sawers-Valansot Publication, 1976 (first published 1916); Kawahara Masahiko, The Ceramic Art of Ogata Kenzan, Tokyo, New York, and San Francisco, Kodansha International, 1985; Kozuru Gen, Famous Ceramics of Japan Vol.2: Agano and Takatori, Tokyo, Kodansha International, 1981; Lawrence, Louis, Hirado: Prince of Porcelains, Chicago, Art Media Resources, 1997; Mikami Tsugio and Herring, Ann, trans., The Art of Japanese Ceramics, New York, Weatherhill, 1983 (first published 1972); Miller, Roy Andrew, Japanese Ceramics, Tokyo, Toto Shuppan, 1963 (first published 1960); Mitsuoka Tadanari, Ceramic Art of Japan, Tokyo, Dai Nippon Printing, 1956; Mulder, W. Z., Hollanders in Hirado, Haarlem, Fibula-Van Dishoeck, 1985; Munsterberg, Hugo, The Ceramic ARt of Japan: A Handbook for Collectors, Rutland, VT, Charles E. Tuttle, 1964; Nakagawa Sensaku, Kutani Ware, Tokyo, New York, and San Francisco, Kodansha International, 1979; Rousmaniere, Nicole (ed.), Crafting Beauty in Modern Japan, exhibition catalogue, London, British Museum Press, 2007; Seattle Art Museum, A Thousand Cranes: Treasures of Japanese Art, San Francisco, Chronicle Books, 1987; Smith, Bradley, Japan: A History in Art, New York, Spring Books, 1972 (first published 1964); Stockspring Antiques, The Dragon and the Quail, exhibition catalogue, Ringwood, Pardy and Son, 2000; Tokyo National Museum, Nihon Kokuho Ten (National Treasures of Japan), exhibition catalogue, Japan, Yomiuri Shimbun, 1990; Watson, William (ed.), The Great Japan Exhibition: Art of the Edo Period, exhibition catalogue, London, Royal Academy of Arts, 1981; Wilson, Richard L., The Art of Ogata Kenzan: Persona and Production in Japanese Ceramics, New York, Weatherhill, 1992. (28).For further information on this lot please visit Bonhams.com
A pale boxwood netsuke of a badgerEdo period (1615-1868) or Meiji era (1868-1912), mid-late 19th centuryStanding and staring ahead in a human attitude, its body wrapped in a large lotus leaf, wearing a smaller lotus leaf hat, its short bushy tail visible from beneath the edge of the leaf on the reverse, its eyes inlaid with pale translucent horn; unsigned. 5.1cm (2in) high.Footnotes:For very similar examples of the subject by Toyokazu, see Neil K. Davey, Netsuke: A Comprehensive Study Based on the M. T. Hindson Collection, London, Faber & Faber and Sotheby Parke Bernet Publications, 1974, p.243, no.756, and Frederick Meinertzhagen, MCI: The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, New York, Alan R. Liss Inc., 1986, p.946. For an example by Toyomasa, see Marie-Thérèse Coullery and Martin S. Newstead, The Baur Collection Geneva: Netsuke (Selected Pieces), Geneva, Collections Baur, 1977, no.C1108, and for an unsigned example in the Victoria and Albert Museum (inv.no.A.919-1910), see http://collections.vam.ac.uk/itemO228598/netsuke-unknown/For further information on this lot please visit Bonhams.com
A black-lacquered netsuke in the form of a broken-off piece of inkBy Shibata Zeshin (1807-1891), Meiji era (1868-1912), late 19th centuryDecorated in relief on one side with musical instruments and tassels, and two kanji (Chinese characters) on the other, the second character truncated; signed on one side Zeshin in incised characters. 3.1cm (1¼in).Footnotes:Provenance:Purchased in these rooms, 10 November 2011, lot 244.Similar examples are illustrated by Neil K. Davey, Netsuke: A Comprehensive Study Based on the M. T. Hindson Collection, London, Faber & Faber and Sotheby Parke Bernet Publications, 1974, p.279, nos.846-847.For further information on this lot please visit Bonhams.com
A wood netsuke of Hadesu slaying a tigerBy Tsuguhisa, Edo period (1615-1868), 19th centuryThe legendary warrior standing in a belligerent pose with one hand pinning down a strugglng tiger to the ground and the other raised about to strike the animal's head; signed on the tiger's belly in an oval reserve Tsuguhisa. 3.9cm (1½in) high.Footnotes:For two similar examples (one signed Gyokurintei), see Henri L. Joly, Behrens Collection, vol. 1, London, Glendining and Co., 1913, pl.LXI, nos.4782 and 4789. The example signed Gyokurintei (Behrens no.4789) is also illustrated by Neil K. Davey, Netsuke: A Comprehensive Study Based on the M. T. Hindson Collection, London, Faber & Faber and Sotheby Parke Bernet Publications, 1974, p.305, no.926.For further information on this lot please visit Bonhams.com
Assorted silver plate to include small pedestal jug, wooden handle, 13cms high; cased servers and carvers, egg cup and spoon, three scent bottles in stand, pair Hukin & Heath chocolate pots (quantity) Provenance: By direct descent from Lady Enid Doreen Scudamore-Stanhope Browne (1899-1985), daughter of The Hon. Evelyn Theodore Scudamore-Stanhope and Julia Dasha Potter. Condition Report: All with wear from use- tarnishing, Condition Report Disclaimer
λ† Raymond Booth (British 1929-2015), Woodland Torrent; Hilly Habitat of Lillium Auratum; Mountain Track Pencil on paper All signed lower right Each image: 17 x 22cm (6½ x 8½ in.) (3) Provenance: The Fine Art Society Plc., London, March 1997 Exhibited: London, The Fine Art Society, Japonica Magnifica,1997, no. 35, 49 & 65, respectively Please Note: VAT is payable by the purchaser at the standard rate of 20% on the hammer price, in addition to the standard VAT charge added to the buyer's premium Condition Report: Unexamined out of frames, some sunlight discolouration and scattered spotting One with slight damage to glazing bottom left Condition Report Disclaimer
Ɵ Jacob Lawrence (American 1917-2000), Hiroshima by John Hersey Leather bound volume with complete text and eight screenprints in colours, 1983 Signed in pencil by the authors and the artist, numbered 50 (from an edition of 1500), printed at The Studio Heinrici Ltd., New York and published by the Limited Editions Club, New York Each sheet 31.7 x 24cm (12 1/2 x 9 1/2in.) Provenance: Brian Helm & Tammy Helm, Hendersonville, North Carolina Acquired from the above, The Anthony and Davida Artis Collection of African-American Fine Art, Flint, Michigan, United States Condition Report: Slip case showing signs of wear from handling and use as is the leather binding. Condition Report Disclaimer
A selection of mostly Welsh related porcelain, various dates circa 1820, comprising: a Swansea porcelain 'Paris-flute' breakfast cup and saucer painted in the manner of William Pollard with flowers, un-marked; a Swansea porcelain 'Paris' fluted saucer with gilt-line border, iron-red printed SWANSEA mark, 21cm diameter; a William Henry Pardoe Cardiff decorated English porcelain teacup and saucer, iron-red printed mark; and a commemorative jug painted with birds, gilt with initials GSB, 18cm high Cf. Sotheby's, The Sir Leslie Joseph Collection, 15th & 16th May 1992, lot 105 for an almost identical breakfast and saucer Condition Report: Pollard breakfast cup cracked, Pardoe decor. cup has a restored handle, Swansea saucer dish is worn. Condition Report Disclaimer
Elsa Vaudrey Barker-Mill (British 1905-2019), The Jewel Oil on board Signed, inscribed and dated1963 to reverse 56.5 x 56.5cm (22 x 22 in.) Together with three other works by the same artist; Landscape, mixed media, signed and dated 1962 and inscribed "For G and Dom", 53 by 37cms "Street by a canal", mixed media, signed, 48 by 63cms, "The bicyclist", mixed media, unsigned, 43.5 by 26cms A study of a male nude attributed to the artist, Book "Elsa Vaudrey", publ. 2018, Sansom & Company (6) Condition Report: First- formerly loose in glazed slip frame and now removed from it to avoid potential damage- surface dirty- mild rubbing to margins Second- framed and glazed, evidence of damp- mount with heavy staining Third- framed- discolouration from sunlight Fourth- browned and faded- back showing signs of old damp Nude- paper heavily browned Book- generally fair- some wear from use and handling Condition Report Disclaimer
A massive documentary archaistic ritual bronze incense burner, FangDingQianlong, dated by inscription to the 41st year of the reign Qianlong corresponding to 1776 and of the periodOf rectangular form, cast on each side with a taotie mask in low relief, with stylised body and claw motifs on the sides, against the thunder patterns, centred with flanges, below a narrow register of low relief chilong scroll, the four vertical faces with pronounced square flanges terminating in points at the corners, under the lipped rim surmounted by a pair of loop handles, all supported on four tall dragon legs, wood cover. 66cm (26in) high. (2).Footnotes:清乾隆四十一年 青銅大方鼎Provenance: White Allom & Co. London (label)Harold Hyam Wingate (1901-1979), acquired in the 1950s, and thence by descent來源：倫敦古董商White Allom & Co（標籤）Harold Hyam Wingate (1901-1979) 舊藏，二十世紀五十年代入藏，並由後人保存迄今The side of the exterior is inscribed:乾隆四十一年 台灣府知府蔣元樞捐造 貢生蔣得皋監製Which may be translated as:'The forty-first year of Qianlong reign, donated by the Prefect of Taiwan, Jiang Yuanshu, manufacture supervised by Tribute Student, Jiang Degao'The present lot would have belonged to a group of bronze ritual vessels commissioned and donated by Jiang Yuanshu. These bronze vessels are depicted in the 'Illustrations of Ritual Vessels at the Confucius Temple' (孔廟禮器圖) from the Illustrated Explanations of Renovating Various Buildings in Taiwan Prefecture (重修臺郡各建築圖說). Jiang Yuanshu 蔣元樞 (1738-1781), style name Zhongsheng (仲升), sobriquet Xiangyan (香巖), was a native of Changshu in Jiangsu. He served as the Prefect of Taiwan from the fortieth to the forty-third year of the Qianlong reign (1775–1778). According to the Illustrated Explanations of Renovating Various Buildings in Taiwan Prefecture by Jiang Yuanshu, he noted in 1776 that 'all the vessels used at the Confucian Temples in Taiwan Prefecture are made of lead-tin bronze, which is of humble quality'. Therefore, he 'carefully consulted Confucian regulations and selected artisans in Suzhou to establish a workshop, purchased bronze, created a foundry, cast ritual vessels and musical instruments, and had them all shipped to Taiwan'.See three other identical bronze ritual incense burners with the same inscription existing in Taiwan, two in the Tainan Confucius Temple and another in the Tainan Grand Matsu Temple.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A large Chinese export silver 'dragon' trophyWH Xiechang 90 mark, late 19th century, dated by inscription to the 20th year of the Guangxu reign corresponding to 1894, and of the periodFinely embossed with four dragons amongst clouds on the exterior in low-relief repoussé, one side with a coat-of-arms, with the monogram CK, with incised inscription, set with two bamboo-form handles, the stem as the tails of three joint ao fishes rising from a spreading foot embossed with bamboo branches. 38.7cm (15 1/4in) high. (2.1kg).Footnotes:1894年製 銀雲龍紋竹節耳盃「WH」、「協昌」、「90」錘印款Provenance: a German private collection來源：德國私人收藏WH stands for Wang Hing, which was a well-known craft shop, based in Hong Kong, 10 Queen's Road Central, famous for specialising in gold and silver from the late Qing dynasty to the Republican period. Wang Hing's wares were considered to be of very high quality and he once supplied silver ware articles for Tiffany & Co.; see The Silver Age: Origins and Trade of Chinese Export Silver, Hong Kong, 2017, p.212.Compare with a similar Chinese export silver 'dragon' trophy, WH Xiechang 90 mark, late Qing dynasty, which was sold at Bonhams London, 8 November 2018, lot 271.For further information on this lot please visit Bonhams.com
A Dingyao moulded 'Buddhist lion' dishJin DynastyThe shallow body finely moulded to the interior with a central medallion enclosing a striding Buddhist lion reaching towards a bunch of lotus, encircled by a fluted border at the rim, covered inside and out with a creamy-white glaze, all supported on a short straight foot, the rim bound in copper.13cm (5 1/8 in) diam.Footnotes:金 定窯印花獅子蓮紋盤Provenance: John Sparks Ltd., LondonBluett & Sons, London, acquired from the above on 26 April 1946 for £15Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge, acquired from the above on 30 April 1946 for £20 (collection, no.TT11)Sotheby's London, 20 May 1952, lot 41Robert Stanley Hope Smith (1910-1979), collection no.S4, and thence by descent來源：倫敦古董商John Sparks Ltd.倫敦古董商Bluett & Sons，於1946年4月26日以15英鎊購自John Sparks Ltd.Cunliffe勳爵舊藏，藏品編號TT11，於1946年4月30日以20英鎊購自Bluett & Sons倫敦蘇富比，1952年5月20日，拍品編號41Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號S4，並由後人保存迄今Rolf, Lord Cunliffe began collecting Chinese art when he was an RAF officer, stationed in London towards the end of World War II. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James. galleries like Bluett's, Spark's and Spink's. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl.We would like to thank Lord Cunliffe and Dominic Jellinek for the provenance information.Compare with a related but larger (17.5cm) moulded Dingyao dish with a design of lions, Jin dynasty, in the National Palace Museum, Taipei, illustrated in Decorated Porcelains of Dingzhou: White Ding Wares from the Collection of the National Palace Museum, Taipei, 2014, no.II-118.See also a similar Dingyao moulded Buddhist lion dish, Jin dynasty, which was sold at Sotheby's Hong Kong, 5 April 2017, lot 3203.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
A very rare famille rose 'butterflies and peonies' dishYongzheng six-character mark and of the periodThe dish finely potted with gently curving sides rising from a short inward-tapering foot to a slightly everted rim, delicately enamelled with two butterflies fluttering in mid-air beneath a branch of flowering peony blossoms. 20cm (7 7/8in) diam.Footnotes:清雍正 粉彩過枝花蝶紋盤青花「大清雍正年製」楷書款Provenance: Bluett & Sons, London (label), circa 1924 - 1930Sotheby's London, 24 July 1951, lot 161Robert Stanley Hope Smith collection (1910-1979), collection no.R32, and thence by descentWe would like to thank Dominic Jellinek for providing further information on the Bluett's provenance.來源：約1924至1930年間，購自倫敦古董商Bluett & Sons（標籤）倫敦蘇富比，1951年7月24日，拍品編號161Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R32，並由後人保存迄今The blossoming peony branches on the outside extend over the rim of the dish continuing well into the interior. This decorative pattern, known as 'guozhi 過枝' (overextended branches), is a homophone of the phrase 'guozhi 國治', meaning prolonged peace under good government. It was first developed towards the end of the Ming dynasty, and later became popular during the Yongzheng reign. It was especially favoured at court which is shown in Imperial examples such as a larger dish (29.5cm) with peach flower design in the Baur Collection, illustrated by J.Ayers, The Baur Collection, vol.IV, Geneva, 1974, A589; and a charger (50.1cm) in the Palace Museum, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.67.See a closely related dish with butterflies and peonies design, Yongzheng six-character mark and period, which was sold at Christie's London, 7 November 2017, lot 275.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCB periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
A pair of famille rose 'ladies' dishesYongzhengEach potted with shallow rounded sides rising to an everted rim, the interior finely painted with a seated lavishly dressed lady painting a leaf by a table, her attendant holding a floral fan to her side, a group of lingzhi stems, fly whisk and incense burner resting on the gilt stand behind them, one dish with brush, ingot and ruyi-sceptre maker's mark. Each 19.7cm (7 3/4in) diam. (2).Footnotes:清雍正 粉彩仕女圖折沿盤一對其一 青花「筆錠如意」花押款Provenance: Leonard Gow (1859-1936), Glasgow, no.411Sotheby's London, 15 December 1950, lot 47Robert Stanley Hope Smith (1910-1979), collection no.R31, and thence by descentPublished: R.L.Hobson, Catalogue of the Leonard Gow Collection of Chinese Porcelain, London, 1931, p.101Exhibited: Glasgow Art Galleries & Museums, Reg.No.E6-'36rs and E6-'36rt (labels)來源：英國格拉斯哥Leonard Gow（1859-1936）舊藏，藏品編號411倫敦蘇富比，1950年12月15日，拍品編號47Robert Stanley Hope Smith（1910-1979）舊藏，藏品編號R31，並由後人保存迄今出版：R.L.Hobson，「Catalogue of the Leonard Gow Collection of Chinese Porcelain」，倫敦，1931年，頁101展覽：格拉斯哥美術館及博物館，編號E6-'36rs及E6-'36rt（標籤）Leonard Gow (1859-1936), born in Glasgow, Scotland, was the son of a shipping magnate also called Leonard Gow (1824-1910), who established the Glen Line to trade between London, Singapore, China and Japan. Leonard junior eventually became the senior partner in the shipping company Gow, Harrison & Co., a director of Burmah Oil, and chairman of several other companies. A noted philanthropist, Gow established in 1919 a lectureship in the Medical Diseases in Infancy and Childhood at Glasgow University, where he had studied moral philosophy. Glasgow University presented Gow with an honorary doctorate degree in law in 1934. Gow built one of the finest collections of Qing ceramics in the early years of the 20th century, which gained international recognition through a series of ten articles by R.L.Hobson in The Burlington Magazine and through Hobson's catalogue, which Gow published privately in a limited edition of 300 copies in 1931. Part of his collection was exhibited in the Glasgow Art Gallery.One dish has an underglaze-blue mark of a brush (bi), an ingot (ding) and a ruyi-sceptre, tied with ribbons, forming the rebus bi ding ruyi signifying 'may all certainly be as you wish'.Compare with a slightly smaller dish (17.1cm) in the Palace Museum collection, Beijing, illustrated in Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.74. See two other dishes in the Victoria and Albert Museum, London, nos.640-1907 and 649-1907.Compare with a very similar famille rose 'ladies' dish, Yongzheng, which was sold at Sotheby's London, 17 November 2017, lot 213.The Robert Stanley Hope Smith CollectionRobert Stanley Hope Smith, known to friends and family as Stanley, was born on 13th December 1910 in Horton, Bradford. During the 2nd world war he served with his local Home Guard Regiment. He was a solicitor and partner at Browning Oliver and Smith in Bradford and was known to have worked closely with the refugee Polish community which settled there in the late 1940s and early 50s, helping them establish a future within the city that still prospered with a textile industry.He married Joan Shelton, a schoolteacher, on 4th September 1946, bought a small semi-detached house, Colwyn, Park Mount Avenue in Baildon and had one son, John.According to his diary he began collecting 'Famille Rose' and 'Famille Verte' pieces in 1946 from local auction houses, shops and privately in Harrogate, Leeds and Bradford. His wife Joan also shared his passion and they made further purchases on weekend trips to country houses and antique fairs.He made his first Sotheby's purchase via absentee bid on 2nd October 1950 and on the 15th December the same year was elected a member of the Oriental Ceramic Society. In 1959 Frank Davis, another north of England OCS member, wrote to say that he would surely be welcomed by the 'learned lot' in London but it is unlikely Stanley ever made it there because of the disability that made travel difficult.Over the following decades he was delighted to acquire pieces from well-known collections formed by Lord Cunliffe, Montague Meyer, Leonard Gow, along with OCS exhibition pieces. What may have not been key pieces for them became the core of his collection.Stanley and Joan lived an unassuming life, intellectually stimulated by eclectic subscriptions to periodicals. He played the organ at church services in Baildon, watched his son play rugby for his school and county, and on summer afternoons tended his allotment. They loved the Yorkshire Dales, visiting country houses, occasionally staying in hotels in the Lake District. On Sundays they drove a specially adapted Jaguar across the Yorkshire moors.Members of their family were the few fortunate enough to see the porcelain collection displayed in the back room of Colwyn on a dresser alongside the piano and harpsichord. They assumed that Stanley collected even broken pieces of Chinese pottery because they were all that he could afford, unaware that Kintsugi was key to his passion, for he had suffered from polio as a child and walked with a cane.Stanley died in November 1979. Joan remained a member of the Oriental Ceramic Society for the rest of her life. In later years her grandchildren remember her reading to them in front of an open fire from auction catalogues, OCS periodicals and Oriental art study books, teaching them about the Chinese dynasties and their dates while referring to the pieces still on display in the back room where they had remained undisturbed for the previous 45 years. She died in 2000 and the collection was subsequently put into storage. The family has decided that the time has come for others to enjoy and admire the collection and hope that it will bring as much pleasure as it did for Stanley and Joan.For further information on this lot please visit Bonhams.com
A rare archaic bronze ritual food vessel, guiEarly Western Zhou Dynasty, 11th-10th century BCThe compressed globular body cast in high relief on each side with a pair of taotie masks with C-shaped horns and large boss eyes, divided by two mythical beast-headed loop handles set at the bottom with a tab, all supported on a high spreading foot cast in high relief with a band of eight dragons, the patina of gun-metal grey tone with light patches of malachite encrustation. 29.2cm (11 1/2in) wide. Footnotes:西周早期，公元前11至10世紀 青銅獸耳饕餮紋簋Provenance: Mr. Rafi Y. Mottahedeh, New YorkSotheby's New York, 4 November 1978, lot 308Mr. and Mrs. Earl Morse, New YorkRichard J. and Jean D. SalisburyJ.J. Lally & Co., New YorkAn American private collectionSotheby's New York, 17 March 2015, lot 154A distinguished London private collectionExhibited and Published: The Metropolitan Museum of Art, New York, 1982, Spirit and Ritual: The Morse Collection of Ancient Chinese Art, no.14.J.J. Lally & Co., New York, June 1 to 25, 1994, Archaic Chinese Bronzes, Jades and Works of Art, no.53.來源：美國紐約Rafi Y. Mottahedeh舊藏紐約蘇富比，1978年11月4日，拍品編號308美國紐約Earl Morse伉儷舊藏Richard J.與Jean D. Salisbury伉儷舊藏美國紐約古董商J.J. Lally & Co.美國私人收藏紐約蘇富比，2015年3月17日，拍品編號154倫敦顯貴私人收藏展覽著錄：大都會藝術博物館，「Spirit and Ritual: The Morse Collection of Ancient Chinese Art」，美國紐約，1982年，編號14J.J. Lally & Co.，「Archaic Chinese Bronzes, Jades and Works of Art」，美國紐約，1994年6月1日至25日，編號53The rendering of the masks that dominate the body of this vessel are characteristic of the early Western Zhou period. Large-scale animal masks appear on some of the most famous vessels of the period, such as the Li gui; see W.Fong, The Great Bronze Age of China, New York, 1980, no.41. The style established by such important works as the Li gui probably enhanced the popularity of this motif at the time.Two related gui vessels from the reign of the third Zhou King, Kang Wang (1020-996 BC or 1005-978 BC) make it likely that the present lot was also produced during the same reign. See Bronzes of the Shang and Chou Unearthed in Shensi, Beijing, 1979, no.152.For further information on this lot please visit Bonhams.com
A large limestone Buddhist steleEastern Wei Dynasty or later The stele of pointed arched form, carved in high relief with a figure of Shakyamuni Buddha standing in the centre flanked by two bodhisattvas, his right hand raised in the peace-giving gesture abhaya mudra, the left lowered to his side, clad in long and thin robes falling over the shoulders and looping across the body in multiple folds, the head framed by a circular halo decorated with multiple whorls, all beneath a smaller seated figure of Amithaba Buddha flanked by six flying apsaras, stand. 96cm high (37 6/8in) high (2).Footnotes:東魏或更晚 背屏式佛菩薩三尊造像Provenance: Nakanishi Bunzo, Kyoto, possibly by inheritance from his father Nakanishi Bunzo, who was chief assistant at the Kyoto branch of Yamanaka & Co., by reputeJames Freeman, KyotoAn important American private collection, acquired from the above in 2002來源：傳為日本京都Nakanishi Bunzo舊藏，或繼承自其父，原山中商會京都分部首席助理，Nakanishi Bunzo日本京都James Freeman舊藏重要美國私人收藏，於2002年購自前者Richly carved with a vibrant scene of veneration, encapsulating Buddhist compassion and celestial quality, the present carving encapsulates the emergence of stone steles as an important Buddhist sculptural medium in Chinese history. Holding his right hand in abhaya mudra, signifying reassurance, the Buddha conveys to the worshippers that they may receive the divine blessings. According to the 'Lotus Sutra', the apsaras are the protectors of the Buddha and of doctrine. These creatures were frequently portrayed in Buddhist cave temples from at least 420 and grew in popularity during the late Northern Wei and Eastern Wei periods. See The Return of the Buddha: The Qingzhou Discoveries, London, 2002, p.84.The origins of Buddhist steles are traceable to two major historical events, both documented at the Buddhist cave temple sites of Yungang and Longmen (386-534), which occurred during the last two decades of the fifth century: the emergence of Buddhist devotional societies and the first espousal of tablets for Buddhist use. See D.C.Wong, Chinese Steles. Pre-Buddhist and Buddhist Use of a Symbolic Form, Honolulu, 2004, p.43.Steles played an important role in the development of regional religious art. During the Northern Wei dynasty, state-sponsorship of Buddhism enabled the rapid spread of the religion throughout Northern China. At this time, Buddhist voluntary groups affiliated to local temples and organised by laymen became the main patrons of Buddhist steles which commemorated the group's religious, social, and territorial identity. The relative ubiquity of the medium employed to manufacture steles, and their small size, prompted a multitude of regional workshops, many of which developed their own style using the monumental cave temple carvings as a basis. Compare the stylistic features of the present stele with a related one, dated by inscription to the Eastern Wei (534-550), from the Cleveland Museum, of Art, Ohio, illustrated in J.A MacLean, 'A Buddhist Trinity', in The Bulletin of the Cleveland Museum of Art, vol.11, no.3, 1914, pp.2-3. Similarities can be noted in the serene expressions of the figures, fullness of their bodies and style of drapery as well as the modelling of the apsaras flying above the central figures.A related inscribed limestone Buddhist stele, Eastern Wei dynasty, was sold at Sotheby's New York, 20 March 2018, lot 202.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A very rare grey limestone head of Buddha ShakyamuniTang Dynasty, Longmen Caves, 7th century ADThe smoothly carved face with meditative expression, the heavily lidded eyes down-cast beneath elegantly arched brows, the straight nose above gently curving lips, the hair carved as wavy curls, all between long pendulous ears, the stone of dark-grey tone, wood plinth stand. 38cm (15in) high. (2).Footnotes:唐，七世紀 龍門石雕釋迦牟尼佛首像Provenance: a French private collectionChristie's Paris, 7 June 2011, lot 346A UK private collection來源：法國私人收藏巴黎佳士得，2011年6月7日，拍品編號346英國私人收藏This large and strongly carved head bears features from the transitional phase of development at the grottoes of Longmen, as the site activity resumed after a long hiatus following the fall of the Northern Wei dynasty. Official sponsorship and further expansion began with renewed energy at the end of the Northern Qi to the early Tang period, and indeed, the present head shows stylistic traces inherited from the early Tang sculptural experimentation. The shallow carving of the eyes, whose lids emerge in low-relief bowed lines from small rounded inner canthi, are similar to the large heads from that site.The Southern Binyang Cave (Cave 159), begun in the Daye reign of the Sui dynasty, was expanded during the reigns of Taizong and Gaozong during the Tang dynasty, and completed by AD 641. The monumental chief pentad of Amitabha flanked by Ananda, Kasyapa and two bodhisattvas in the Southern Binyang Cave all have large open eyelids within squared faces with thicker flatter lips. See Complete Works of Statues in Longmen Grottoes, vol.1: Binyang Cave, Beijing, 2002, fig.273. As such, the present head seems to be related in proportion to the heads of the Buddhas within the larger niches of the flanking walls. Compare fig.288, the large right bodhisattva on the back wall, fig.317, the central Buddha in niche 13, the largest niche on the left wall, and fig.467, the central Buddha in niche 51, the largest niche on the right wall.Two Longmen heads with triple-spiralled hair in the collection of the Victoria & Albert Museum, London, are also related to the present head. See Longmen Liusang Diaoxiang Ji, 'The Lost Statues at Longmen Caves', Shanghai, 1993, figs.47 and 63, and Hai-Wai Yi-Chen, Chinese Art in Overseas Collections, Buddhist Sculpture II., Taipei, 1990, figs.59 and 114.For further information on this lot please visit Bonhams.com
A very fine and rare coconut reticulated pomander and cover18th centuryThe domed cover and pomander each deftly carved and pierced with a writhing central dragon amidst curling clouds, all within diaper pattern borders and a central key-fret border, the coconut of dark-chocolate tone. 6.2cm (2 1/2in) diam. (2).Footnotes:十八世紀 椰殼鏤雕龍紋香熏Provenance: J.C.Oswald (1857-1930) (label)Dilys Mary Eaton and thence by descent來源：J.C.Oswald（1857-1930）（標籤）Dilys Mary Eaton夫人舊藏，並由後人保存迄今John Charles Oswald (1857-1930) was a tea merchant. He arrived in Fuzhou, Fujian Province, in the late 1880s, having worked for a tea importer in London for thirteen years. Initially working for Odell & Co. as a clerk, he moved within a few years to Bathgate & Co. where he became manager and partner. Oswald combined his work for Bathgate & Co. with work for other firms, such as Fairhurst & Co. in the 1900s, and he was also Consul for the Netherlands from the 1890s and later Vice-Consul for Norway. Oswald was a keen amateur photographer and eight of his photograph albums are held at the School of Oriental & African Studies Archives.As has been pointed out by G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.256, the early Ming connoisseur Cao Zhao, lists coconut shell in the 'Rare Woods' section in his study of antiquity, Gegu Yaolun. Cao cites two southern provinces, Guangdong (which would have included also Hainan) and Guangxi, as well as Annam (modern day Vietnam) as the source of this material and mentions it being 'either painted or set in silver to make wine cups, wine pots, individual plates, wine ewers, and water ladles.' In a later, enlarged edition volume of 1462, he adds, 'the small ones are the most expensive and hard to come by'. See, P.David, Chinese Connoisseurship, the Ko Ku Yao Lun: The Essential Criteria of Antiquities, London, 1971, p.156. See also Tsang and Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.256, for a small carved coconut shell wine cup with a silver liner.See also a round box and cover of coconut shell, mid Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, p.96, no.88.For further information on this lot please visit Bonhams.com
A very rare pair of carved cinnabar-lacquer 'weiqi' boxes and coversLate 16th/early 17th centuryEach gently curving sides exquisitely carved with three-stringed lutes or sanxian, clappers or paiban, mouth-organs or sheng, and bells, as well conch-shells, fans, crickets, and auspicious symbols, all on a diaper-pattern ground, the gently domed covers carved with ripe lychees borne on leafy branches, each lychee carved with different patterns. Each 12.5cm (4 7/8in) wide. (4).Footnotes:十六世紀晚期/十七世紀早期 剔紅圍棋蓋罐一對The present lot is extremely rare and there seem to be few published examples. The game of weiqi (圍棋) or encirclement chess, which is perhaps better known in the West by its Japanese name of Go, was considered to be one of the four accomplishments of a scholar-gentleman in traditional Chinese society. The other three arts included playing the qin (琴), a seven-stringed zither much enjoyed by Confucius; calligraphy or shu (書); and painting or hua (畫). The decoration of various antiques and musical instruments on the present lot underscore their nature as objects for leisure and entertainment. According to some traditional accounts, the mythical emperor Yao invented the game to enlighten his son. The game which was known then as yi (弈) was also mentioned in the Analects (Lunyu 論語) ascribed to the sage Confucius.Weiqi boxes and covers were continuously made for the elites in Chinese society. See a cinnabar-lacquer carved weiqi box and cover, Southern Song dynasty, in Daiju-ji temple, Okazaki, illustrated in So Gen no bi: denrai no shiki o chushin ni, Tokyo, 2004, pl.117. Compare with a related but earlier pair of cinnabar lacquer weiqi boxes, Xuande six-character mark and of the period, which was sold at Christie's New York, 19 March 2009, lot 581. Compare also with a pair of lacquer weiqi boxes, Xuande six-character mark, late Ming dynasty, illustrated by K.Brandt, Chinesische Lackarbeiten: Linden Museum, pp.132-133, no.80. See also a pair of related cinnabar lacquer weiqi boxes and covers, Jiajing six-character mark and of the period, illustrated in China Lacquerwork & Enamelware Selection, Beijing, 2006, p.59.For further information on this lot please visit Bonhams.com
A superb pale green jade 'immortals' boulderQianlongSuperbly carved in high relief on one side with three bearded sages each carrying a peach, lingzhi fungus and lotus spray respectively, beneath a gnarled pine tree, a pavilion higher above in the distance, the reverse with a crane gazing down on a deer, all within a craggy grotto with further pine trees, the stone of very pale green tone with minor russet and cloudy inclusions, wood stand. 20cm (7 7/8in) high. (2).Footnotes:清乾隆 青白玉雕林中高士圖山子Provenance: Spink & Son, Ltd., London, 1980Florence and Herbert Irving (1920-2018; 1917-2016) collection, no.336Published and Illustrated: R.Keverne, ed., Jade, London, 1991, p.174, fig.117來源：1980年購自倫敦古董商Spink & Son, Ltd.佛羅倫斯·歐雲（1920-2018）與赫伯特·歐雲（1917-2016）伉儷舊藏，編號336出版著錄：R.Keverne，「Jade」，倫敦，1991年，頁174, 圖117Florence and Herbert Irving were avid collectors of Asian art for more than 50 years, and in 2015, they gave an extraordinary collection of more than 1,200 works of art to the Metropolitan Museum of Art in New York. In 1969, Herbert Irving co-founded the company Sysco. Through hard work and dedication, the company was listed in 1970 and by 2009, Sysco was ranked number 204 in the Fortune 500 companies based on sales. Subsequently, Sysco grew to become one of the world's leading food product distribution company with sales of up to US$58 billion. This exceptional success brought with it great wealth to Florence and Herbert Irving. Their collecting interests encompassed all of the major cultures of East and South Asia and virtually every medium explored by Asian artists and craftsmen over five millennia. Their support of the Metropolitan Museum of Art, New York was also recognised through the numerous galleries that bear their names, in addition to funding the Florence and Herbert Irving Asian Wing in its entirety.This finely-carved boulder is a superb example of the sensitivity of the 18th century carvers in their use of the natural form of the stone to portray a literati-style landscape scene. During the Qianlong reign, the emperor requested that jade mountains, as well as plaques and panels with scenes of mountainous landscapes, take their artistic influence from the work of famous painters. The personal interest of the emperor, as well as the increased availability of large pieces of Khotan jade after the pacification of the area in 1759, prompted a proliferation of production of jade boulders of varying sizes exquisitely carved with delicate mountain scenes resembling literati landscape paintings. Compare the present carving to a group of jade mountains carved with landscape motifs in the Qing Court Collection, illustrated in Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, nos.72-74.See also a similar but slightly smaller pale green jade boulder, Qianlong, which was sold at Christie's London, 10 November 2015, lot 55.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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