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Lot 90
RARE FRAGMENT D'ARCHITECTURE EN MARBRE BLANC SCULPTÉÉpoque Qianlong (1736-1795)A RARE WHITE MARBLE ARCHITECTURAL FRAGMENTQianlong periodCarved on both sides with a rocaille-inspired design comprising C-scrolls and scalloped shells around a central aperture, all between strapwork terminating in a flat top and base. 40.5cm x 12.5cm (16in x 5in) Footnotes:清乾隆 大理石建築殘件Provenance:Acquired from Brandt Asian Art Ltd., London, 21 June 2006.Property of a distinguished German collector來源：於2006年6月21日得自倫敦古董商Brandt Asian Art Ltd.德國顯赫私人珍藏For further information on this lot please visit Bonhams.com
Lot 44
OREILLER EN GRÈS CIZHOUDynastie Jin/Yuan, XIIIe/XIVe siècleA CIZHOU 'ZHANG FAMILY' PILLOW Jin/Yuan Dynasty, 13th/14th centuryOf rectangular form with a concave top finely painted in brown on a creamy white slip under a clear glaze with a shaped medallion enclosing eight immortals in a garden setting, the sides similarly painted with shaped medallions enclosing a pictorial scene on the front and floral motifs on the sides and back, the base stamped with a five-character mark, 'Guxiang Zhangjia zao' (Made by the Zhang Family from Guxiang) between a lotus blossom and a lotus leaf. 40.5cm x 17cm x 15.4cm (16in x 6 3/4in x 6in)Footnotes:金/元 十三/十四世紀 磁州窰白地黑花八仙祝壽圖枕 「古相張家造」款Provenance:Acquired from Ben Janssen Oriental Art, London, 3 December 1998A European private collection來源：Ben Janssen Oriental Art藝廊，倫敦，1998年12月3日歐洲私人珍藏The pillow is stamped with the name of the Zhang Family, a workshop specialising in the production of pillows or headrests in the late 12th and 13th century. As indicated in the inscription, the workshop was located in Guxiang or Xiangxian to the west of Anyang in Henan. Several examples of similarly shaped, sized and decorated painted pillows or headrests are known, compare, for instance, one in the collection of the Metropolitan Museum of Art, New York, accession number 2009.428, and a second example in the collection of the British Museum, London, illustrated in Oriental Ceramics. The World's Great Collections, vol. 5, Tokyo, 1981, no.118. Another pillow of this type, from the Falk Collection, illustrated by Yutaka Mino, Freedom of Clay and Brush through Seven Centuries in Northern China: Tz'u-chou Type Wares, 960-1600 A.D., Indianapolis, 1981, p.143, pl.59.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 83
RINCE-PINCEAUX EN PORCELAINE À GLAÇURE CLAIR-DE-LUNE, TANGLUOXIMarque et époque Kangxi (1662-1722)A RARE CLAIR-DE-LUNE-GLAZED WASHER, TANGLUOXIKangxi six-character mark and of the period Of compressed circular form with rounded sides and a wide incurved rim, covered overall with an even pale lavender-blue glaze, the base with a six-character mark in underglaze blue. 11.5cm (4 1/2in) diam.Footnotes:清康熙 天藍釉鏜鑼洗 青花「大清康熙年製」款Provenance: Ralph M. Chait Galleries, New YorkA European private collection來源：Ralph M. Chait Galleries，紐約歐洲私人收藏Brushwashers were an integral part of the scholar's accoutrements. Under the Kangxi emperor, small porcelain vessels made for the scholar's table were produced in two new glazes, referred to as peachbloom and clair-de-lune, however, far fewer brush washers with a clair-de-lune glaze appear to have been made. Compare with two similar clair-de-lune brushwashers, bearing Kangxi marks and of the period, the first illustrated by John Ayers, Chinese Ceramics in the Baur Collecion, Geneva, 1999, p.57; the second in The Metropolitan Museum of Art, New York, acc.no.64.279.2. A similar clair-de-lune washer was sold in Sotheby's New York, 13 September 2017, lot 7.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 45
TRÈS RARE ET IMPORTANT PANNEAU EN SOIE TISSÉE KESIXIIe-XIVe siècleA VERY RARE AND IMPORTANT SILK KESI TAPESTRY PANEL12-14th centuryFinely woven with four parallel rows, each row depicting two striding gold lions outlined in red, with curly manes and coats and long tails, their mouths and tongues protruding, their bodies worked in gold thread and edged in red silk, surrounded by dense scrolling foliage issuing large colourful blooms, fruit, and leafy tendrils, the leaves, palmettes and flowers in naturalistic colours, all edged in multi-coloured silk threads with gold detailing, all on a dark brown ground. 63.2cm x 34cm (24 7/8in x 13 3/8in) Footnotes:十二至十四世紀 獅紋緙絲掛幅Provenance:Acquired in London in June 1997An important European private collection來源：於1997年6月得自倫敦歐洲重要私人珍藏 This reversible fragment of a kesi tapestry, woven with polychrome silk and metal threads, is likely to be a section from yardage intended for a garment or from a section cut from a finished garment. Only four other fragments made in the same technique and featuring an identical design are known, two of them in museum collections and at least one in a European private collection. The first illustrated in Spink & Son Ltd., The Art of Textiles, London, 1989, p.15, no.5, is now in the collection of the Cleveland Museum of Art, Cleveland, Ohio, accession no. 1991.3, also illustrated in James C.Y. Watt and Anne E. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles, Cleveland and New York, 1997/1998, cat.no.19, pp.80-82; a second fragment is in the collection of the Tokyo National Museum, Tokyo, Japan, accession no. DSC08443, a third fragment was sold in Nagel, Stuttgart, 2 November 2012, and a fourth fragment from a French private collection, is also illustrated in James C.Y. Watt, Anne E. Wardwell, ibid., p.80, fig.28. Results of a C14 test have provided a date for the fragment in the collection of the Cleveland Museum of Art revealing it to have been made between the 12th to 14th century, suggesting a similar date for the other three fragments, see Spink & Son Ltd.,ibid., p. 15, hence suggesting a 12th to 14th century date for the present piece. Dye analysis of the coloured yarns of the Cleveland Museum of Art fragment has revealed that the dyes are natural and that the orange, scarlet and pink are from the safflower plant, the red and dark pink from the bark of a tree and the blue dye from the indigo plant. The kesi technique employs a weaving method known as 'passing warp thread and cutting weft thread' referring to the way in which each colour is woven from a separate bobbin creating discontinuous wefts that are joined using slits, interlocks, dovetail and other methods, rendering the surface pattern of the fabric as if it had been carved or cut by a knife, hence the term kesi or 'cut silk'. This particular weaving method was technically highly demanding and time-consuming, the silk tapestries thus produced very precious and valuable.The golden lions depicted on this fragment, are traditionally considered symbols of royalty. They are depicted with parted manes and tilted heads, features that derive from Persian models dating to the Sasanian period (211–651 AD). These particular kesi fragments are different from other Central Asian silk kesi in the repetition of lions and palmettes in horizontal rows, facing alternate directions in an asymmetrical Chinese-inspired layout. As on the Cleveland fragment, two small flower buds just above the lions heads on the bottom row enclose a debase Arabic letter of the type known as Kufesque, frequently used in the decorative repertory of Central Asia. James C.Y. Watt and Anne E. Wardell note the strong Persian influence in the design of these kesi fragments suggests that they were woven by Uyghurs who were relocated further to the west and who thus transmitted Persian culture and iconography to the region, and exchanged weaving and artistic practices and patterns with Chinese artisans living in Central Asia, see James Y.C. Watt and Anne E. Wardwell, When Silk was Gold: Central Asian and Chinese Textiles, Cleveland and New York, 1997/1998, cat.no.19, p.80.To this day, very few early silk kesi tapestries of Tang, Song and Yuan date survive in China. The few extant examples have been recovered mostly from high-ranking Tang dynasty tombs in the far north and north west of China, in Buddhist cave contexts at Dunhuang. Even when kesi weaving flourished in the northwest of China, the technique only gained in popularity during the Song dynasty when it became a highly prized commodity.For further information on this lot please visit Bonhams.com
Lot 67
PETITE STATUETTE DE BOUDDHA SHAKYAMUNI EN BRONZE DORÉXVIIIe siècleA SMALL GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNIUdayana style, 18th centuryExquisitely cast and richly gilt, standing barefoot, with his left hand held in abhaya mudra, the gesture of reassurance, and right hand raised in varada mudra, the gesture of bestowal of charity, dressed in a full length diaphanous robe elegantly draped across his shoulders and falling in long undulating folds over his body and arms, his face serene and with a benevolent expression, his head covered with tightly curled whorls around a pronounced usnisa, the base later added. 14cm (5 1/2in) high. (2).Footnotes:十八世紀 烏仗那式鎏金銅釋迦牟尼佛像Provenance:Formerly in the collection of Auguste Gerard (1852-1922), director of the postal services in Beijing (1893-1897), and French ambassador to Japan (1906-1913), thence in the family by descent.來源：施阿蘭（Auguste Gerard）（1852-1922）舊藏，於1893年至1897年間任駐清朝公使，1906年至1913年間任法國駐日大使，後家族流傳。The term Udayana refers to a legendary Indian sandalwood sculpture of Buddha, now lost but believed to have been brought to China in antiquity. The Udayana style, as it is known today, is ultimately derived from the Buddhist sculpture of ancient Gandhara from around the first century AD where Buddha images reflected Classical influence in their flowing robe. This style of Indian Buddhist sculpture where robes are depicted with pronounced folds was common throughout the region and readily accessible to Chinese pilgrims and travellers such as Fa-hsien who is known to have visited the area sometime around the beginning of the fifth century. Indian Buddhist teachers also travelled east, and the sculptural trend thus found its way to China. Testimony to this migration of style is seen in the renowned gilt bronze Udayana style Buddha in the Metropolitan Museum of Art, dated 486 and identified by inscription as Maitreya, where the Buddha's hands are held in abhaya and varada mudra, with the robe falling from the shoulders in stylised undulations, Denise Patry Leidy, 'Notes on a Buddha Maitreya Sculpture Dated 486 in the Metropolitan Museum of Art, New York', in Oriental Art, Winter, 2005-6, p.22, fig.1.The hands are shown with pronounced webbing between the thumb and forefinger, one of the lakshana or identifying marks of a Buddha. Compare with another figure cast in the same style and position, dated to the 18th century, in the collection of the Asian Art Museum of San Francisco, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p.553, pl.158E.For further information on this lot please visit Bonhams.com
Lot 71
RHYTON ARCHAÏSANT EN JADE VERT ÉPINARD SCULPTÉÉpoque Qianlong (1736-1795)A FINE SPINACH-GREEN JADE ARCHAISTIC RHYTONQianlong periodThe well-hollowed vessel of elongated form tapering towards the base carved in relief with a large taotie mask with bulging eyes under bushy brows, the horns laid back and forming the base, carved in low relief around the exterior with archaistic scrolls and five sinuous chilong dragons clambering up and around the sides of the cup, the stone of mottled green colour with black speckles, wood stand. 14.4cm (5 5/8in) high. (2).Footnotes:清乾隆 碧玉雕螭龍觥The present rhyton cup with 'five chilong' draws inspiration from Han dynasty jade cups; see for example one jade cup illustrated by Chang Li-tuan's, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, p.126. This reflects the Qianlong emperor's desire to 'restore ancient ways', indicating that jade artisans looked to the past for guidance in infusing their creations with the purported spirit of the ancients: simplicity, honesty, refinement, and elegance. These 'ancient ways' encompassed Confucian values such as sincerity, simplicity, and joyous exuberance, but bolstered the Manchu emperor's legitimacy of governing China. A similar Imperially-inscribed jade spinach-green rhyton cup, Qianlong, in the collection of the Palace Museum, Taipei, is illustrated by Chang Li-tuan, Ibid., pl.34. Another related spinach green jade rhyton cup, is illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Shanghai, 2008, pl.121. See also a related jade rhyton cup dated to the 16th/17th century of the Ming dynasty, in the Guimet Museum, Paris, illustrated in Jade: From Emperors to Art Deco, Paris, 2016, p.119; see also a related rhyton cup illustrated in Ibid, p.150, in the scroll Guwan tu (Pictures of Ancient Playthings) of the Yongzheng Emperor, in the British Museum.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 42
OREILLER EN GRÈS CIZHOU ÉMAILLÉ VERTDynastie Jin (1115-1234) A CIZHOU GREEN-GLAZED PILLOWJin DynastyOf kidney shape, the slightly concave top boldly carved to the centre with a peony spray within a semi-circular panel with a striated combed border, encircled by large trefoil petals, covered overall with a transparent glaze of a rich green tone pooling to a dark green colour in the recessed parts of the design and continuing down the sides stopping unevenly above the unglazed base, the reverse with a circular firing aperture. 20cm (7 7/8in) wide.Footnotes:金 磁州窰綠釉枕Provenance:A European private collection來源：歐洲私人珍藏Green lead-glazed wares are one many categories of Cizhou ceramics that were made in the Cizhou kilns in southern Hebei between the tenth and fourteenth centuries. Of the green-glazed Cizhou wares, pillows represent by far the largest group. Inscribed examples of green-glazed Cizhou pillows confirm that this subgroup of Cizhou wares was often gifted to newlyweds or as congratulatory objects. Compare a green-glazed pillow with a similar design in the Minneapolis Institute of Art, Minneapolis, accession no.98.72.2.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 38
RARE PETITE BOÎTE COUVERTE EN PORCELAINE DINGDynastie des Song du Nord（960-1127), XIe/XIIe siècleA RARE SMALL MOULDED DING BOX AND COVERNorthern Song Dynasty, 11th/12th centuryBoth box and cover of conforming trefoil shape, with slightly tapering straight sides and flat base, the domed cover with a central six-petalled flower-head moulded in relief and set within a beaded border repeated around the rim of the cover, covered overall with a glaze of warm ivory tone pooling to a light olive tone in the recessed parts of the design, part of the interior rim unglazed and the base unglazed. 6.7cm (2 5/8in) long. (2).Footnotes:北宋 十一/十二世紀 定窰白釉蓋盒Provenance:John Sparks Ltd., LondonCollection of R.F.A. Riesco (1877-1964), Croydon, no.101Sotheby's London, 23 June 1970, lot 12Hans Popper CollectionEskenazi Ltd., London, November 2005A European private collectionPublished:René-Yvon Lefebvre d'Argencé, The Hans Popper Collection of Oriental Art, Tokyo, 1973, no.96Eskenazi Ltd., London, Song Ceramics from the Hans Popper Collection, London, November 2005, no.17來源：倫敦古董商John Sparks Ltd.里埃斯科（1877-1964）珍藏，克羅伊登，編號101倫敦蘇富比，1970年6月23日，編號12Hans Popper珍藏埃斯卡納齊，倫敦，2005年11月歐洲私人珍藏出版：René-Yvon Lefebvre d'Argencé, 《The Hans Popper Collection of Oriental Art》，東京，1973年，編號96埃斯卡納齊，倫敦，《Song Ceramics from the Hans Popper Collection》，倫敦，2005年11月，編號17This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 22
ASSIETTE VOLANTE EN GRÈS POLYLOBÉEDynastie Tang (618-907)A RARE UNGLAZED QUATREFOIL FOOTED DISHTang DynastyFormed from four radiating trefoil leaves, each cupped and lobed, resting on four outwardly curved foliate cabriole legs moulded on the exterior with foliate scrollwork. 25cm (9 3/4in) diam. Footnotes:唐 四足花式盤Provenance:Acquired from Berwald Oriental Art, London, 2006.A distinguished German private collection來源：於2006年得自倫敦古董商Berwald Oriental Art德國顯赫私人珍藏The silhouette and form of this particular footed dish were inspired by Near Eastern metalwork. During the Tang dynasty, precious silver and even gold metalware was gifted to the Tang court as tributes from foreign emissaries. This distinctive shape was then copied by craftsmen working in workshops in the Tang capital. Several silver examples survive, see, for instance, ... The popularity of this particular form of footed dish is reflected in the number of glazed and unglazed copies that were made almost exclusively for burial, see a rare blue and amber-glazed quatrefoil footed dish in the collection of the Art Institute of Chicago, accession number 1951.304. Compare also a sancai-glazed dish of this shape in the collection of the Museum of Far Eastern Antiquities, Stockholm, formerly in the Hellner Collection, illustrated in The World's Great Collections. Oriental Ceramics, vol.8, Tokyo, 1982, col.pl.20.For further information on this lot please visit Bonhams.com
Lot 29
TRÈS RARE PAIRE DE LOUCHES EN ARGENT INCRUSTÉES D'ORFin de la Période des Royaumes Combattants (475-221 avant J.C.)/Début de la Dynastie des Han de l'Ouest (206 avant J.C.-9 après J.C.)A VERY RARE PAIR OF GOLD-INLAID SILVER SPOONSLate Warring States/Early Western Han DynastyEach spoon with a racquet-shaped bowl decorated with a pierced design of two addorsed stylised dragons within a narrow border of linked S-scrolls, extending to a slender, slightly tapering stem and terminating in a handle with a pierced design of S-shaped scrolls terminating in a larger C-scroll, set with an eyelet suspending a ring, spoons and handles worked in a parcel-gilt openwork stylised bird scroll motif, the bowl and handle finely inlaid in gold with a variety of animals including prowling tigers, long-tailed birds, recumbent deer and seated hares, foxes and owls, all running and racing amidst stylised rockwork, the stem on one spoon set with a stylised, gold-inlaid bird head, the other spoon with a stylised taotie mask. 26.7cm (10 1/2in) and 27.2cm (10 3/4in) long. (2).Footnotes:戰國晚期/西漢早期 銀錯金長柄匙一對Provenance: Acquired from Priestley & Ferraro, London, November 1999A distinguished European private collectionPublished:Priestley & Ferraro, Out of Wind and Dust: Reflections of War and Peace in Chinese Art, London, 1999, cat.no.1.來源：於1999年11月得自倫敦古董商覺是軒（Priestley & Ferraro）歐洲顯赫私人珍藏出版：覺是軒（Priestley & Ferraro），《Out of Wind and Dust: Reflections of War and Peace in Chinese Art》，倫敦，1999年，編號1This highly unusual pair of gold-inlaid silver straining spoons appears to be unique and no other example appears to be recorded. Stylistically these beautifully made spoons follow the tradition of silver and gold-inlaid bronze vessels, fittings and ornaments made in the later part of the Warring States period and the Western Han dynasty. Their elaborate and highly fluid decoration displays the stylistic and technical influence of artistic developments that took place in the southern regions of China at the end of the Warring States period and that continued well into the Qin and Western Han periods. The gold-inlaid designs on the handles and bowls of both spoons are filled with tiny animals including birds, hares, foxes and tigers, realistically rendered and vigorously moving along fine curvilinear lines. The underlying openwork design of addorsed stylised birds and dragons contributes to the overall dynamism of the design reflecting the influence of contemporaneous lacquer painting and silk weaving. The fluid, calligraphic representations on these two spoons recall painted designs found on Chu lacquer, such as the lacquer coffin from Baoshan, Jingmen, Hubei province, illustrated by Teng Rensheng, Lacquer Wares of the Chu Kingdom, Hong Kong, 1992, pp.58-59, no.6, or on outermost lacquer coffin found in the Western Han tomb No.1 of the Lady Dai (217–168 BC) at Mawangdui, Changsha, Hunan province. From the early sixth century BC, gold and silver were gradually adopted as inlays, and very few solid gold and silver vessels were made from the fifth century BC onwards. Vessels, ornaments and fittings made entirely in silver or even gold represented a 'new' element in the artistic repertory of this early period. However, among the rare pieces made in gold is a gold straining spoon that was discovered in the tomb of the Marquis Yi of Zeng in Sui Xian, Leigudun, Hubei province, dated to 433 BC. While it is not inlaid, the bowl of this spoon is rendered in a pierced design of stylised scrollwork similar to the design on the bowls on the present pair of spoons (Fig.1). Rare silver vessels of this period include a small silver bowl with a raptor-head handle formerly in the Carl Kempe collection, illustrated in Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl.76, and another small silver cup in the collection of the Metropolitan Museum of Art, New York, published in Jenny F. So and Emma C. Bunker, Traders and Raiders on China's Northern Frontier, Washington, D.C., 1995, cat.no.73.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 21
CRACHOIR EN GRÈS ÉMAILLÉ BLANC, ZHADOUFin de la Dynastie Tang (618-907)A CREAM-GLAZED LAYS JAR, ZHADOULate Tang DynastyThe compressed globular body raised on a solid short foot, rising from a narrow waist to a widely flared conical mouth with gently lipped rim, covered inside and out with a creamy white glaze, the base unglazed. 9.5cm (3 3/4in) high.Footnotes:唐晚期 白釉渣斗ProvenanceAcquired from Berwald Oriental Art, 6 May 2005.A distinguished German private collectionPublishedBerwald Oriental Art, Shapes and Glazes of the Tang, London, 2004, cat.no.3.來源：於2005年5月6日得自古董商Berwald Oriental Art德國顯赫私人珍藏出版：Berwald Oriental Art，《Shapes and Glazes of the Tang》，倫敦，2004年，編號3For further information on this lot please visit Bonhams.com
Lot 28
RARE ACCORDOIR EN BRONZE INCRUSTÉ D'OR, D'ARGENT ET DE PIERRES DURES, SEXIANRUIPériode des Royaumes Combattants (482-221 avant J.-C.)/Dynastie des Han Occidentaux (206 avant J.C.-9 après J.C.)A RARE HARDSTONE-EMBELLISHED, GOLD AND SILVER-INLAID BRONZE ZITHER STRING ANCHOR, SEXIANRUIWarring States period/Western Han DynastyCast with a square hollow socket with rounded edges surmounted by a circular hemispherical top with facetted sides modelled with two rows of smaller and larger petals with alternating turquoise and agate inlays interspersed with small turquoise pieces radiating from a central agate cabochon, all within scroll borders finely inlaid in gold and silver sheet. 4.5cm (1 3/4in) diam.5cm (2in) high.Footnotes:戰國/西漢 銅錯金銀嵌寳瑟枘Provenance:Acquired from Susan Chen, Hong Kong, in 2000 A distinguished European private collection來源：於2000年得自香港陳淑貞（Susan Chen）歐洲顯赫私人珍藏Exquisitely cast and sumptuously inlaid with semi-precious stones, gold and silver sheet, this small object would have been one of a set of four string anchors for a plucked zither (se), an important string instrument popular during the Eastern Zhou and Han dynasties. The refined quality and use of precious materials of this string anchor suggests it was made for an equally refined zither. It is likely that instruments of such outstanding quality were made for high-ranking members of the society as demonstrated by a zither discovered in the tomb of the Marquis Yi of Zeng (dated to late 5th century BC) in Hubei. A similar bronze fitting of Western Han date, similarly decorated with gold, silver and other precious stone inlays, was excavated from tomb no. 2 at Dongdongshan, Xuzhou, Jiangsu province, and is illustrated in James Lin (ed.), The Search for Immortality: Tomb Treasures of Han China, Cambridge, 2012, p.136, no.32. Compare also with a gold and silver-inlaid bronze fitting of similar shape and size but missing the hardstone inlays, sold in Christie's New York, 19-20 September 2013, lot 1503. Compare also with another example in the collection of the Smithsonian National Museum of Art, Washington DC, accession no.S2012.9.2344.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 19
RARE PETITE STATUETTE DE LION ASSIS EN PIERRE NOIREDynastie Tang (618-907)A RARE SMALL BLACK STONE FIGURE OF A SEATED LIONTang DynastyWell carved sitting on its hind legs, its well-defined muscular front legs and paws supporting the powerful body, the head raised and with a ferocious expression, its mouth open in a roar and with bared fangs, eyes bulging below furrowed brows, the mane arranged in tight curls, the stone an even black colour. 19cm (7 1/2in) high.Footnotes:唐 石雕瑞獅坐像Provenance: Acquired from Galinsky by Bluett & Sons Ltd., London, 3 July 1958Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge, acquired from Bluett & Sons, London, on 9 July 1958The Cunliffe Collection, no.NN2, and thence by descentBonhams London, 12 May 2016, lot 16來源： 倫敦古董商Bluett & Sons Ltd.於1958年7月3日得自Galinsky劍橋菲茨威廉博物館東方藝術部名譽主任Rolf Cunliffe勳爵 (1899-1963)於1958年7月9日得自上述來源 Cunliffe收藏，藏品編號NN2，後家族流傳 倫敦邦翰斯，2016年5月12日，編號16During the Tang dynasty, Buddhist art showcased the lion prominently. They held significant value as tributary gifts from emissaries from India and Central Asia. In 635, Emperor Taizong (598-649) received a lion as a tribute gift from Samarkand, prompting him to commission a poem in its honour by the court poet Yu Shinan (558-638). Acting as protectors, pairs of large stone figures of lions flanked the spirit roads leading up to Imperial tombs. Compare with a related Tang dynasty white marble statue of a lion, of similarly small size, in the collection of the Louvre, Paris, illustrated in Oswald Siren, Chinese Sculpture from the Fifth to the Fourteenth Century, Bangkok, 1998 reprint, pl.435D.See a related small white marble figure of a seated lion, Tang dynasty, which was sold in Christie's New York, 24 September 2020, lot 908. Compare also with a slightly larger figure of a seated lion similarly carved from black stone, formerly in the collection of Arthur M. Sackler, sold in Christie's New York, 1 December 1994, lot 164, where the footnote refers to a small black stone lion illustrated in Ancient Chinese Sculpture, Eskenazi, London, 1978, cat.no.4.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 89
PANNEAU EN SOIE JAUNE TISSÉE, KESIXVIIe siècleA YELLOW SILK KESI PANEL17th centuryFinely woven with an intricate pattern of lively bats moving amidst large multi-coloured ruyi-shaped clouds, all on a yellow ground, below a band of colourful linked ruyi heads. 171.5cm x 56cm (67 1/2in x 22in)Footnotes:十七世紀 黃地緙絲雲蝠紋掛屏Provenance:Acquired from Brandt Asian Art Ltd., London.Property of a distinguished German collector來源：得自Robert Brandt，倫敦德國顯赫私人珍藏For further information on this lot please visit Bonhams.com
Lot 37
VERSEUSE COUVERTE EN GRÈS CÉLADONDynastie des Song du Nord（960-1127)A CELADON-GLAZED EWER AND COVERNorthern Song DynastyPotted with a generous globular body raised on a short flared foot, surmounted by a short tubular neck, set on one side with an upright strap handle and with a gently curved spout on the other side, the cylindrical cover with a flat knop, covered overall with a lustrous pale celadon glaze, the base unglazed. 23.5cm (9 1/4in) high. (2).Footnotes:北宋 青釉帶蓋執壺Provenance:A European private collectionThe result of Oxford Authentication Ltd. thermoluminescence test no.P123q91 dated 12 December 2023, is consistent with the dating of this lot.來源：歐洲私人珍藏本拍品經牛津熱釋光檢測編號P123q91（2023年12月12日），結果與其斷代相符This rare ewer would originally have had a basin of corresponding form. Not many examples of this type of ewer are known. They include a Yue ewer decorated with an incised design of twin parrot medallions in the collection of the Metropolitan Museum of Art, New York, published in Suzanne Valenstein, A Handbook of Chinese Ceramics, New York, 1975, p.78, no.72a. Another example of a Yue ewer from the Meiyintang collection is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 1, London, 1994, p.181, no.312. Another ewer of this shape excavated from Cixi, Zhejiang, is included in Zhongguo taoci quanji: 6, Tang, Wudai, Shanghai, 2000, no.164.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 70
A collection of terracotta / clay tribal folk art pots. The collection to include a large rounded pot / planter with chevron pattern textured detail to outer, alongside a small square pot / planter and rounded vase each with concentric circles carved design, two pierced terracotta dishes and another large pot / planter.
Lot 536
Early photography interest - A collection of carte de visite 19th Century Victorian and later portrait photographs depicting women, men and children both individually and as couples / families in standing and sitting positions wearing Victorian dresses & military clothes. Studios to include Bannister & Co Manchester, Elliott & Fry Baker Street, The London Stereoscopic & Photography Company, Fradelle & Marshall Regent Street, W. Moon & Co Crewe, R Dightou's Art Studio Cheltenham, Sawyer's Italian Studios, Disderi Paris, amongst other examples. Together with later Edwardian photographs and midget postcards.
Lot 278
An early 20th Century toleware hand painted folk art style wooden oval mirror having painted black ground with floral design depicting various types of flowers. Label to back reads ' Barnby Bendall & Co Depository Cheltenham ' which was a furniture storage and removals company. Measures approximately 36cm x 29cm.
Lot 145
Capodimonte - Two china porcelain Mode Liberty Capodimonte figurines comprising of a lady with dark hair in bun wearing red and white draped art deco dress base stamped ' anno 1923 ', the other figure of a lady in purple evening gown with shawl and flowers in hair base stamped ' anno 1915 '. Measuring approximately 25cm tall.
Lot 76
A large collection of ceramic tribal folk art bowls, pots, and vases. The collection to include a variety of examples. One example marked ' Care Ghana ' to base, with wicker and clay bead details, alongside a small dish with carved fish motifs, an earthenware vase with carved detail to top finished in a blue colouring, alongside other examples.
Lot 48
Aseda - A collection of 20th Century retro studio art glass splash vases some with bubble control of varying colours. To include three Swedish Aseda ' Jack in the Pulpit ' bone vases by Bo Borgstrom. Also comprising of five splash vases, a tall striped vase in white / green colourway and a blue textured bottle. Measuring approximately 35cm tall.
Lot 51
Murano - Two 20th Century studio art glass Murano bird figures one with red colourway upon clear base and long curved neck, the other of red / orange colourway with mottled splashes of colour to body. Together with a Spanish Viartec selenium red and orange glass centrepiece sculpture. Measures approximately 23cm x 37cm.
Lot 23
Clarice Cliff - A 20th Century vintage circa. 1930s art deco Clarice Cliff Lynton ceramic part coffee / tea service in the ' Honeydew ' pattern, comprising of coffee / teapot, four cups and saucers, milk / cream jug and sugar bowl. Each piece hand painted with design of pink and green flowers upon a branch. All items stamped to base with Clarice Cliff signature. Pot measuring approximately 19cm tall.
Lot 73
A collection of three clay tribal folk art pots. Each pot being of bulbous form. One featuring carved house motifs, encompassed by crosshatched decoration and rows of raised dots. Also to include two large pots / vases on having a rounded lid with small knob handle to top. Largest measuring approx. 25cm tall.
Lot 308
A 20th Century art nouveau manner cast metal table gong having characteristic sinuous organic line design to surround and a sunflower in relief to the centre of the gong. Together with a copper with hammered detailing to centre and curled nouveau design to surround. Gong measuring approximately 53cm x 37cm.
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