A FINE AND RARE PAINTED ENAMEL AND GILT-BRONZE SQUARE VASEQianlongOf slender square section tapering form, delicately enamelled with cusped panels variously depicting Xiwangmu borne on clouds with a boy attendant offering a dish of peaches, and Magu with a further boy attendant in a rocky landscape, all on a bright yellow ground with a profusion of flower sprays and foliage, the neck with archaistic pendent lappets on a pink ground within key-fret bands, set with a pair of gilt bronze lion-mask handles, with hongmu stand. 16.5cm (6 1/2in) high. (2).Footnotes:清乾隆 銅胎畫琺瑯開光仕女圖長方形瓶Provenance:J. C. Vickery, LondonE. A. Parry (1879-1946), London, acquired from the above on 25 August 1924, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.186, no.2187.來源：倫敦古董商J. C. Vickery倫敦E. A. Parry（1879-1946）舊藏，於1924年8月25日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁186，編號2187This remarkable vase was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were variously loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, the V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and by notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - a roll call of the greatest collectors of Chinese art in the West in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. During the Qianlong period, the southern port of Guangzhou (otherwise known as Canton) was the main trade entrepot between Europe and China. Influenced by European painted enamels and oil paintings, local craftsmen began producing a large number of painted enamel wares depicting foreign flowers, architecture and Western figures as well as Chinese Immortals and subject matter which were sent as tribute to the Imperial Court in Beijing. Apart from the Guangzhou workshops, a smaller number of painted enamel wares were also manufactured in the Imperial Workshops in the Forbidden City, Beijing, which were first established during the reign of the Kangxi Emperor.Xiwangmu, the Queen Mother of the West, shown on one side of the vase, is a Daoist deity often depicted with an assistant carrying a basket of peaches beside her, such as on the present lot. She has an orchard of peaches deep in the Kunlun mountains in the West, which when eaten bestow Immortality. Magu, shown on the other side, is another female Immortal associated with the elixir of life. She is often portrayed next to a basket of flowers or herbs with life-giving properties. Compare the painting of Xiwangmu with another similar female Immortal on a painted enamel vase, Qianlong seal mark and period, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Enamels, 5, Beijing, 2011, pp.106-107, no.72. Compare also the dense foliate scrolls with similar ones on two Imperial-tribute painted enamel vases, Qianlong seal marks and of the period, illustrated in Ibid., nos.119 and 120.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次&... 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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A FINE AND RARE PAIR OF THREE-COLOUR CINNABAR LACQUER CARVED PRUNUS-SHAPED BOWLS AND COVERS, ZHADOUQianlongEach with an everted foliated rim, carved and decorated with cusped red cinnabar floral-cell cartouches and ruyi sceptres reserved on a greenish-black and yellow wan-diaper ground, the body and cover further decorated with red and coloured-lacquer floral-cell pattern bands, the gilt-bronze knop finials encircled by petal lappets and key-fret borders, the interiors and bases lacquered black. Each 15.7cm (6 1/4in) wide. (4).Footnotes:清乾隆 剔彩錦地紋帶蓋花口唾盂一對Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Notable for the vigorous carving, precision of knifework and meticulous attention to detail, the present bowls and covers encapsulate the opulent style developed under the orders of the Qianlong Emperor, who took an active role in developing Court lacquerwares. The high standards achieved in lacquer production during the Qianlong reign also resulted from the Emperor's intervention by ordering ivory craftsmen from Guangzhou to Beijing to revive many techniques used in Ming lacquer carvings. These included the so-called 'three-colour-layered lacquer carving', ticai, a popular practice during the late Ming dynasty.A closely-related two-coloured cinnabar lacquer zhadou, mid Qing dynasty, in the Hall of the Three Rarities, Sanxitang, is illustrated in Imperial Furniture of Ming and Qing Dynasties: Classics of the Forbidden City, Beijing, 2008, p.340, no.373. Compare also with a related zhadou and cover, Qianlong, second half 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2015, p.873, no.2011. Compare the layered carving technique with a three-coloured lacquer carved box and cover, 18th/19th century, illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.164, no.180. See a single related carved red lacquer zhadou and cover, 18th century, which was sold at Christie's New York, 18 September 2015, lot 2096.折沿花口，折沿上有四處瓣形開光並剔出錦地紋為飾，開光之間髹以黃綠彩漆並治萬字錦地紋，其上各剔紅漆如意一柄。器身及器蓋同樣在三色彩漆之上剔出各式錦地紋帶。蓋鈕鎏金。器內及器底均髹黑漆。本例雕工細緻，紋飾精巧，呈現了乾隆年間流行的奢華風格。乾隆皇帝本人對宮廷漆器工藝及風格的發展有極大的影響。在其治下，廣東的牙雕工匠被徵調至內廷，明代漆雕的許多工藝也被恢復，清代漆器工藝在此時一度達到巔峰。其中一項被復原的明代漆雕技法為「剔彩」，即在器物上分層髹以不同顏色的漆，因此所剔紋樣即可呈現不同層次及色彩斑斕之效果。參考故宮三希堂陳設一例相似的清中期剔彩唾盂，圖見《明清宮廷家具》，北京，2008年，頁340，圖373。另一件可與之相較的清乾隆（十八世紀下半葉）帶蓋唾盂可見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2015年，頁873，編號2011。本品所運用之剔彩技法及幾何紋飾亦可比較一例十八/十九世紀剔彩八棱式盒，與收錄於《和光剔彩——故宮藏漆》，台北，2008年，頁164，編號180。紐約佳士得曾於2015年9月18日售出一例十八世紀剔紅牡丹梅紋錦地渣斗，拍品編號2096，可資比對。For further information on this lot please visit Bonhams.com
A SPINACH-GREEN JADE COVER18th/19th centuryExpertly carved around the exterior in low relief with a continuous scene of cranes amongst gnarled pine trees, the dark green stone with pale cloudy inclusions. 14.2cm (5 5/8in) diam.Footnotes:十八/十九世紀 碧玉松鶴紋器蓋Provenance:The Liebermann CollectionSpink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 July 1928, and thence by descent來源：Liebermann舊藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年7月31日購自上者，並由後人保存迄今The 1928 Spink & Son invoice refers to the Liebermann Collection. This may refer to the collection of the German painter Max Liebermann (1847-1935), who was one of the most important Berlin art collectors of the Imperial Era and the Weimar Republic and is reported to have turned to collecting Chinese art from 1900. Two pieces from his collection were included in the 1929 Chinese Art Exhibition in Berlin; see Ausstellung Chinesischer Kunst, Berlin, 1929, nos.769 and 1045.The present lot would have probably served as cover to a circular box, which were usually decorated with low-relief floral designs. See a spinach-green jade circular box and cover decorated with geometric designs and a chilong, Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum. Jadeware, vol.3, Hong Kong, 1995, p.84. See also a spinach-green jade circular box and cover decorated with low relief floral designs, 18th century, which was sold at Christie's Hong Kong, 27 May 2008, lot 1964.倫敦古董商Spink & Son開立於1928年的發票稱此例來自Liebermann舊藏，或指德國畫家馬克思·利伯曼（Max Liebermann，1847-1935）；他同時也是當時柏林最為重要的收藏家之一，據稱其於1900年起開始收藏中國藝術。利伯曼曾將兩件藏品借展於1929年柏林中國藝術展，見《Ausstellung Chinesischer Kunst》，柏林，1929年，展覽編號769與1045。本例應作為圓形器物的器蓋使用，原器身應以淺浮雕裝飾同類題材。如一例清代碧玉圓蓋盒，收錄於《故宮博物院藏文物珍品全集：玉器（下）》，香港，1995年，頁84。參考一例十八世紀碧玉雕圓蓋盒，器身浮雕纏枝花卉，售於香港佳士得，2008年5月27日，拍品編號1964。For further information on this lot please visit Bonhams.com
AN EXTREMELY RARE IMPERIAL CINNABAR AND TIANQI LACQUER CARVED 'PLUM BLOSSOM' 'PICNIC' BOX SET, COVER AND STANDQianlongThe elaborate set comprising a cinnabar lacquer cover with lobed sides, finely carved on the upper surface with six tribute bearers carrying scrolls, coral vases, coins and other offerings set within a mountainous landscape scene dotted with rocks and paulownia trees, the vertical sides of the cover carved with cartouches depicting the 'Hundred Antiques', all on a diaper ground, the interior with a further two-tiered 'prunus blossom' box accommodating five smaller boxes enclosing a central circular box, all finely decorated with polychrome designs depicting delicate sprays of blossoming lotus, supported on a separate cinnabar lacquer stand, the upper surface incised with a large floral bloom radiating tendrils, the sides carved with a honeycomb pattern, raised on five cabriole legs. 16.8cm (6 5/8in) high x 19.5cm (7 5/8in) wide. (17).Footnotes:清乾隆 剔紅胡人進寶梅花式套盒Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 31 March 1925, and thence by descentPublished, Illustrated and Exhibited:Spink & Son Ltd., A Selection of Oriental Works of Art, London, circa 1924, p.17, no.281來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年3月31日購自上者，並由後人保存迄今展覽著錄：Spink & Son Ltd.，《A Selection of Oriental Works of Art》，倫敦，約1924年，頁17，編號281This exquisite 'picnic' set was produced in the Imperial Lacquer Workshops of the Zaobanchu (Imperial Palace Workshop), located in the Forbidden City. Notable for the exceptional quality of its carving through the multiple layers of cinnabar lacquer and the ingenious combination of the polychrome tianqi (filled-in) technique decorating its inner compartments, the present lot reveals the opulent taste of the Qianlong Emperor and the zenith of lacquer carving achieved during his reign. Layer upon layer of lacquer was patiently applied to build up a thick surface through which the craftsmen meticulously carved a variety of grounds for the different elements of the elaborate designs, and the tianqi lacquer technique provided an attractive visual contrast to the carved cinnabar lacquer exterior, to the delight of the Emperor and the Court.The shape of the present box with its five-lobed sides is often referred to as meihua xing, or 'Plum-blossom form'. This shape appears to have been highly favoured by the Qianlong Emperor. See a 'plum-blossom'-shaped cinnabar lacquer box, mid Qing dynasty, standing on a similar stand as the present example, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.60, no.40. In addition, the theme of tribute bearers appears to have been highly favoured by the Qianlong Emperor, as can be noted on a number of boxes in leading museum collections. A cinnabar lacquer lobed box, Qianlong, shaped as conjoined circles, in the National Palace Museum, Taipei, depicts a foreigner on horseback accompanied by his servant, is illustrated in Emperor Chien-lung's Grand Cultural Enterprise, Taipei, p.56, pl.I-45; see also a small cinnabar lobed box, Qianlong, which depicts a similar scene, and is illustrated by C.Lihua, Many Splendors: Yuan, Ming and Qing Lacquerware from the Chao Collection, Beijing, 2010, no.72.The closest comparison for this sumptuous arrangement of 'boxes within a box' is the pair of musical-stone shaped boxes in the collection of the Palace Museum, Beijing. Contained within each of the Palace Museum boxes are four similarly-lacquered smaller containers; both sets of boxes were included in the exhibition, Views of Antiquity in the Qing Imperial Palace, Macao, 2006, p.326, no.116. See also another carved cinnabar lacquer box, divided into compartments on a separate base, illustrated by M.Beurdeley, The Chinese Collector Through the Centuries: From the Han to the 20th Century, Fribourg, 1966, p.161. Also compare the tianqi work executed on the interior boxes within a lacquered rectangular box and a two-tiered box, Qianlong, in the Palace Museum, Beijing, illustrated in Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, nos.95 and 101.Compare with an extremely rare polychrome lacquer peach-shaped box and covers accommodating nine matching boxes and covers, Qianlong, which was sold at Christie's New York, 23 March 2013, lot 1319. See also a carved cinnabar octafoil box and cover accommodating eight fitted dishes, Qianlong, which was sold at Christie's Hong Kong, 27 November 2007, 1794.盒梅花形，下承底座，通體雕朱漆花紋。蓋面雕胡人進寶圖，進貢者分別手捧畫卷、珊瑚插瓶、錢幣及其他寶物。蓋外壁每瓣之上均治錦地開光，開光內為各式博古圖。內置雙層梅花式套盒，盒蓋隨形開光填漆彩繪蓮紋。下層為攢盒形式，內含五個扇形小盒環繞中央一圓盒，萬字錦地，每隻扇形小盒皆在盒蓋繪有一隻蝙蝠，中央圓盒繪一簇壽桃，有五福捧壽、福壽綿延之意。盒座表面飾以大朵纏枝團花，座身滿鋪六角錦地紋，下承五彎獸足，曲線優雅。整體結構匠心獨運，精巧絕倫。本例無疑為清宮造辦處所製御用之物。盒蓋漆層厚重，雕工細膩，配以色彩斑斕之填漆內盒，更添光彩，彰顯乾隆皇帝的奢華品味外，更是其在位期間漆藝巔峰之體現。盒蓋所用「剔紅」之法，需在器物的胎型上塗上數十層至百層生漆，等乾後再雕刻出浮雕的紋樣，是對工匠耐性及手藝的極大考驗。而內盒上所施用的填... For further information on this lot please visit Bonhams.com
A RARE CINNABAR LACQUER CARVED 'DRAGON' TRAY16th/17th centuryThe well of the rectangular tray carved through layers of cinnabar lacquer with a writhing five-clawed dragon pursuing the flaming pearl amidst wispy ruyi-shaped clouds, the interior and exterior sides similarly carved with ruyi clouds, all on a diaper-pattern ground. 25.4cm (10in) long.Footnotes:十六世紀/十七世紀 剔紅雲龍紋長方形盤Provenance:Captain W.F. Collins (1865-1948), Beijing, who sent the lacquer tray to Bluett's on 27 May 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 7 June 1927, and thence by descentCaptain William Fellows Collins, was agent in Peking for the Anglo-French China Corporation Ltd and for S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.來源：高林士（1865-1948）於1926年5月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1927年6月7日購於上者，後由家族繼承高林士（William F. Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。Notable for its extremely fine and deep carving, made possible through the varying thickness of the lacquer ground, this exceptional tray relates to the extremely fine lacquer wares manufactured in the Imperial Workshops during the reign of the Wanli Emperor of the Ming dynasty. See a carved yellow and red lacquer 'dragon' tray, Xuande Yiwei mark, 16th/17th century, illustrated in Carving the Subtle Radiance of Colors: treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.111, no.99. See also a related qiangjin and tianqi lacquer tray, decorated with a similar design of dragons, Wanli Renchen year and of the period, in the Nezu Art Museum, Tokyo, illustrated by Ch'iang-chin, Chinkin and Zonsei, Lacquerware, Tokyo, 1974, p.73, no.53.Capable of flying high in the sky and diving back in the sea, dragons were seen as intermediaries between Heaven and Earth and symbolic of the Emperor and Imperial power. Typically, the representation of five-clawed dragons was reserved for Imperial wares. Ruyi-clouds were also auspicious, as they resembled the lingzhi fungus, prized for its attributions of longevity, and combined with the dragon represent auspicious wishes of longevity to the Emperor. Compare the present tray with a related carved yellow and red lacquer 'dragon' tray, Wanli mark, cyclically dated Renchen year corresponding to 1592 and of the period, which was sold at Bonhams Hong Kong, 27 November 2018, lot 52.盤方形，斜沿，圈足，足內髹黑漆，盤心雕有一尾五爪龍，四周環繞如意雲紋，盤身內外壁均剔刻錦地如意雲紋以為飾。漆層厚重，刀法深邃。本例漆地在不同處厚薄有異，因此其雕工亦深淺不一，精細之餘更是極富層次感，大有明萬曆朝御製漆器之風範。參看台北國立故宮博物院藏一件明十六/十七世紀宣德款剔彩雙龍紋長方盤，收錄於《和光剔彩——故宮藏漆》，台北，2008年，編號99。另見日本根津美術館藏一件明萬曆戧金填彩雙龍紋盤，底刻萬曆壬辰紀年款，其紋飾與本品一致，見《鎗金・沈金・存星一図版資料》，東京，1974年，頁73，編號53，其紋飾亦資參考。傳說中，龍既可翱翔天際亦可潛行深海，因此被視為擁有溝通天地的能力，同時亦是皇權之象徵；其中五爪龍紋更被認為是皇家專用。如意雲紋亦是中國紋樣中常見的祥瑞裝飾，其形似靈芝，而後者也被認為是延年益壽之物。該盤結合龍紋與靈芝紋為飾，可能是用於皇家壽儀之物。比較一例明萬曆1592年制剔黃雙龍雲紋長方盤，底刻「大明萬曆壬辰年製」款，售於香港邦瀚斯2018年11月27日，拍品編號52。For further information on this lot please visit Bonhams.com
AN UNUSUAL CINNABAR LACQUER CARVED SCROLL-SHAPED STAND18th/19th centuryCarved on the top with the bearded Zhong Kui leading his sister, gliding on long wispy clouds above roofs and trees, all within a shaped cartouche, the sides with auspicious citrons and fruits, all between key-fret borders. 50.5cm (19 7/8in) long.Footnotes:十八/十九世紀 剔紅人物紋卷書式幾Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 31 October 1935, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1935年10月31日購自上者，並由後人保存迄今The present lot may depict a bearded Zhong Kui accompanying his sister to get married. Zhong Kui is more often depicted as a demon-queller surrounded by an entourage of demons, but sometimes artists and artisans portrayed his rough visage contrasting with his elegant sister. The clouds emphasise their other-worldly nature. 'Marrying off one's sister' (jia mei) is also a pun for 'subjugating demons' (ya gui). A painting by the Yuan dynasty artist Yan Geng (active late 13th century) in the Metropolitan Museum of Art, New York (acc.no.1990.134), shows this motif of Zhong Kui and his sister. Compare with a related cinnabar lacquer scroll-shaped stand, Qing dynasty, illustrated in Refined Pleasures in the Study: Treasures and Curios from Traditional Study, Taipei, 2007, p.100. A black lacquered and jade-inlaid scroll-form stand, 18th/19th century, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2008, p.166.面心浮雕一髯者攜一女子騰雲而行，或為「鍾馗嫁妹」之典。鍾馗自唐以來一直都是文人及畫家喜愛的題材，民間則利用鍾馗圖像去晦驅邪。紐約大都會藝術博物館館藏一幅南宋或元代顏庚所繪《鍾馗嫁妹》，藏品編號1990.134，為現存最早以之為題的畫作。一說「嫁妹」與「壓鬼」諧音，意在驅除鬼邪。對比台北國立歷史博物館館藏一例清山水雕漆書卷幾，收錄於《文窗雅趣——傳統文房清玩珍尚》，台北，2007年，頁100；以及台北國立故宮博物院館藏一例清十八至十九世紀剔黑嵌玉卷書式幾，收錄於《和光剔彩——故宮藏漆》，台北，2008，頁166。For further information on this lot please visit Bonhams.com
A MUGHAL WHITE JADE BOWLIndia, 18th centuryThe translucent thin rounded sides flaring gently at the rim, finely carved with a meander of pendent flower buds at the rim above flowering leafy lily sprays encircling the body. 14.2cm (5 5/8in) diam.Footnotes:十八世紀 痕都斯坦式白玉盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The delicate decoration of the present lot, in the form of floral motifs including a large bloom on a stalk set between two smaller blooms on stems, is inspired by the patterns and compositions frequently employed on other Islamic works of art and architecture.The elegant vessel was probably produced in the northern Indian area centring around Agra, which, during the eighteenth century, was part of the Mughal Empire and famous for the production of refined jade vessels. Many such vessels were highly regarded by the Qianlong Emperor and entered the Imperial collections; they came into China through trade but were also presented to the Emperor as tribute and gifts from Qing Court officials.For examples of compositions of floral motifs on Mughal jade works of art in the National Palace Museum, Taipei, see a bowl with poppies illustrated in Exquisite Beauty-Islamic Jades, Taipei, 2007, p.78, no.73; see also a spinach-green jade bowl decorated with lilies, ibid., p.71, no.62.A related Mughal-style yellow jade bowl displaying a decoration scheme similar to the present lot was sold at Bonhams Hong Kong, 27 November 2014, lot 116.白玉琢作大盌，外壁淺浮雕雕百合花束，口沿從每個弧線下凹處雕飾一朵花苞，且大小相間。這種大小相間的紋飾組合是伊斯蘭裝飾藝術中常見的圖案構圖。本例或產自十八世紀的印度北部，當時屬於蒙兀兒帝國疆域。在蒙兀兒帝國治下，伊斯蘭玉器逐漸形成獨特的裝飾風格，痕都斯坦玉則為乾隆帝對伊斯蘭玉器的統稱。十八世紀後期，乾隆皇帝平定新疆後，痕玉被作為進貢給清廷的御用玉器，因其薄、透、輕巧，而深得乾隆皇帝厚愛。台北國立故宮博物院館藏一例玉雕八角形盌，以及一例十八世紀花口花蕾形雙柄盌，外壁浮雕花卉紋飾皆與本例風格相仿，收錄於鄧淑蘋編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁78，編號73，以及頁71，編號62。另有一例痕都斯坦式黃玉雕蓮花紋盌，紋飾佈局可為比對，售於香港邦瀚斯，2014年11月27日，拍品編號116。For further information on this lot please visit Bonhams.com
A MUGHAL-STYLE PALE GREEN JADE 'CHRYSANTHEMUM' DISH18th/19th centuryThe thin semi-translucent vessel delicately carved with radiating bands of petals encircling a central cross-hatched roundel, the stone of even pale green tone. 8.6cm (3 3/8in) diam.Footnotes:十八/十九世紀 痕都斯坦式青白玉菊瓣盤Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Symbolic of longevity in China, chrysanthemums were also associated with a joyful retirement. They were the favourite flowers of Tao Qian, or Tao Yuanming (365-427), a poet living during a turbulent period in China who retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460.A related larger jade chrysanthemum-shaped dish, is in the Avery Brundage collection, Asian Art Museum, San Francisco, acc.no.B60J307. See also a related Mughal-style white jade chrysanthemum-shaped dish, 18th century, in the National Palace Museum, Taipei, illustrated in Exquisite Beauty: Islamic Jades, Taipei, 2007, p.207. A related pale green jade chrysanthemum dish, 18th century, was sold at Bonhams Knightsbridge, 8 May 2017, lot 162; another related celadon jade chrysanthemum-shaped dish, Qing dynasty, was sold at Bonhams New York, 21 July 2020, lot 89.菊花紋飾意指長壽有徵、多子多福；又因其耐霜雪之特性而被賦予人格化的精神。晉陶淵明不為五斗米而折腰，辭官歸田，淡泊明志；其「採菊東籬下，悠然見南山」的逍遙適意，從此賦予了菊花堅韌而不流俗的文人氣節。參考舊金山亞洲美術博物院布倫德基氏收藏之一例玉雕菊瓣式盤，館藏編號B60J307，形制相仿惟尺寸稍大。台北國立故宮博物院亦藏有一例清葉紋花式盤，收錄於鄧淑萍編著，《國色天香——伊斯蘭玉器》，台北，2007年，頁207，可為比對。倫敦邦瀚斯騎士橋於2017年5月8日售出一例十八世紀青白玉菊瓣盤，拍品編號162；以及紐約邦瀚斯於2020年7月21日售出一例清青白玉痕都斯坦式菊紋盤，拍品編號89，可資參考。For further information on this lot please visit Bonhams.com
A RARE CARVED CINNABAR LACQUER 'HUNTING SCENE' BOWL16th/17th centuryThe rounded sides rising from a short foot to a flared rim, deeply carved with a continuous scene of four Mongolian equestrian hunters armed with spears, one of which has successfully speared an animal, riding in a tree-strewn landscape including pine, willow, paulownia, with grass and lingzhi, reserved on a floral diaper ground, the interior lacquered black, with hongmu stand. 10.8cm (4 1/4in) diam. (2).Footnotes:十六/十七世紀 剔紅狩獵圖盌Provenance:Captain W.F. Collins (1865-1948), Beijing, who sent the bowl to Bluett's on 27 February 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 26 May 1926, and thence by descent來源：高林士（1865-1948）於1926年2月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年5月26日購自上者，並由後人保存迄今Captain William Fellows Collins, was agent in Peking of the Anglo-French China Corporation Ltd and of S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.Lacquer bowls depicting hunting are rare. Although hunting was extolled by early Ming Emperors - who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers; see D.M.Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp.214-220. See two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos.230-231.See a carved cinnabar lacquer rectangular box and cover, with a similar motif of hunting, attributed to Zhou Zhu, Ming dynasty, 16th/17th century, which was sold at Sotheby's Hong Kong, 7 October 2010, lot 2213.高林士（William Fellows Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。以「狩獵圖」為主題紋飾的漆盌十分少見。明朝雖以武力建國，但至明中期，顯著尚武氣質的王朝已逐漸讓位給文人官僚集團；明武宗正德皇帝對田獵騎射的熱情則被文人集團視為荒唐；見D.M.Robinson著，《Martial Spectacles of the Ming Court》，麻省，2013年，頁214-220。北京故宮博物院藏兩例清早期紫檀百寶嵌狩獵圖盒，收錄於《故宮博物院藏文物珍品全集：竹木牙角雕刻》，香港，2002年，編號230-231，騎手頭戴番帽，手執長矛的造型可與本例比對。參考一例十六/十七世紀剔紅狩獵圖紋蓋盒，售於香港蘇富比，2010年10月7日，拍品編號2213。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
A VERY RARE GILT AND BROWN LACQUER 'PHOENIX AND CHILONG' STEM BOWL15th/16th centuryThe broad vessel rising to a slightly everted rim and supported on a splayed, flat stem foot, the upper register carved in relief with four phoenix amongst trailing leafy peony stems beneath a floral diaper-pattern border on the mouth rim, the stem with two sinuous chilong clambering amongst scrolling leafy lingzhi, all on a gilt ground, the interior and base lacquered brown. 15.3cm (6in) diam.Footnotes:十五/十六世紀 剔黑金彩龍鳳呈祥高足盌Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今The remarkable style of carving on the present stem bowl is in continuation of Northern Song dynasty lacquerware. Compare a carved black lacquer rectangular tray reserved on yellow ground, illustrated by TaKagi KeitaKu, Chinese Lacquerware: An Odyssey of Connoisseurship, Tokyo, 2015, pp.4-5. The workmanship on the stem bowl is exquisite in the refined design and detailing of the lappets on the peony blossoms, the leaves, and the feathers of the phoenix, to the sinuous design of the chilong. Also exceptional is the clever use of the 'negative' space, contrasting the brown lacquer design with the rich gilt ground. Such lacquerwares are exceedingly rare. See, however, a closely related black lacquer and gilt-ground bowl and cover, with similar design of phoenix and peony reserved against a gilt-ground, early 15th century, illustrated by Knapton Rasti Asian Art Ltd., Works of Art, London, November 2006, p.12, no.6.For a similar design on a stem bowl, see Carved Lacquer, The Tokugawa Art Museum, Nezu Institute of Fine Arts, 1984, p.47, pl.56; and see a related brown, red and gilt lacquer dish, Ming dynasty, early 16th century, with related chilong and lingzhi band around the cavetto and a gilt-ground central medallion, in the Linden-Museum, Stuttgart, illustrated in Im Zeichen des Drachen, Munich, 2006, no.52. Phoenix and peony, combining the 'King of birds' with the 'King of flowers' augur great blessings and prosperity and represent the saying of 'May there be wealth, rank and good fortune'. The chi-dragon and lingzhi, symbolise the wish for peace and benevolence during a long reign.敞口撇足，鎏金為地，剔黑漆為飾，盌身雕有四鳳遊梭於纏枝牡丹之中，口沿治錦地紋。盌足兩條螭龍穿行於卷草靈芝間。所飾漆雕延續北宋時期風格，如一例黃地剔黑漆方盤，收錄於TaKagi KeitaKu著，《Chinese Lacquerware: An Odyssey of Connoisseurship》，東京，2015年，頁4-5。本例設計精巧，雕工豐富細膩，花、葉、鳳羽以至螭龍的盤曲身軀，處處均顯匠心細節。對盌內壁的處理同樣不俗，所髹棕漆與外壁富麗的鎏金地形成了鮮明的對比，能與制在工藝與造型上相比之漆器相當罕見。參考一件十五世紀早期鳳穿牡丹紋帶蓋漆盌，同以剔黑金彩為飾，詳見Knapton Rasti Asian Art Ltd.，《Works of Art》，倫敦，2006年11月，頁12，編號6。與該例紋樣相似之設計亦可見於《Carved Lacquer》，德川美術館，根津美術館，1984年，頁47，圖版56。另可參考德國斯圖加特林登博物館館藏一例十六世紀初明代鎏金漆盤，其折沿之下飾有與本例相近的螭龍及靈芝紋，其盤心開光亦雕於鎏金地之上，收錄於《Im Zeichen des Drachen》, 慕尼黑，2006年，編號52。作為傳統吉祥圖案的鳳凰牡丹紋樣結合了鳥中之王與花中之王，寓意祥瑞富貴；螭龍與靈芝則象徵長治久安。For further information on this lot please visit Bonhams.com
A SUPERB JADEITE ARCHAISTIC INCENSE BURNER AND COVER, FANGDINGQianlong seal mark, late Qing DynastyOf archaistic form, crisply carved with taotie masks on the straight sides, the corners with flanges, set with a pair of mythical-beast-head handles suspending loose rings, all supported on four cabriole feet, the rim with a pair of square arched handles, the cover surmounted by a Buddhist lion, the stone of vibrant apple-green tone on one side and attractive translucent frost-white tone on the others, hardwood stand. 13.3cm (5 1/4in) high. (3).Footnotes:清晚期 翡翠饕餮紋獅鈕活環耳方鼎「乾隆年製」篆書刻款Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Meticulously carved in the archaistic shape of a food vessel, the present lot is a remarkable example of jadeite carving displaying the lapidary craftsman's ability to emphasise the finest qualities of the jadeite stone and its high degree of frost-like translucency through the elaborate archaistic designs of taotie masks and auspicious creatures.The fangding shape and decorative designs of the present vessel, including the taotie masks, ring-handles and stylised dragons, are all inspired by early bronze ritual food vessels, which were made during the Shang and Zhou dynasties. For an example of an archaic bronze fangding, Shang dynasty, in the Qing Court Collection, see Bronzes in the Palace Museum, Beijing, 1999, p.51, no.22.The archaistic style recalls the Qianlong Emperor's fascination with antiquity and archaism. Proposing to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance, the Emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' Xi Qing Gu Jian, compiled in 1755, which provided the craftsmen with a source of inspiration in jade carving; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50. See two related examples of jadeite archaistic fangding and covers in the Metropolitan Museum of Art, New York, the first, Qing dynasty (dated as Qianlong), and the second, a larger example, Qing dynasty, illustrated by H.R.Bishop, The Heber R. Bishop Collection of Jade and other Hard Stones, Handbook no.10, New York, 1909, pp.42 and 51 (acc.no.02.18.499a,b; and acc.no.02.18.428a,b). See also an archaistic jadeite fangding and cover, 19th century, in the Fitzwilliam Museum, Cambridge, illustrated by J.C.S.Lin, The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century, Cambridge, 2009, p.123.A related but larger (18.5cm high) jadeite archaistic vessel and cover, fangding, late Qing dynasty, and a jadeite archaistic wine cup, jue, late Qing dynasty/early 20th century, were sold at Christie's, Hong Kong, 30 May 2012, lots 4275 and 4276. A jadeite archaistic censer and cover, 19th century, was sold at Sotheby's London, 10 November 2010, lot 116.以翡翠大料剖制琢成，長方形，雙沖耳，口下漸收，下承四夔龍足。有蓋，蓋面隆起，蓋頂雕獅戲繡球為鈕。腹部浮雕饕餮紋，兩側雕獅首銜環耳，雕工精湛，古樸莊重。玉材選料考究，質地明淨細膩，晶瑩剔透，種水上乘，且色澤尤為殊妙，器身正面翠色，碧綠濃艷，背面半透明，清和溫潤，白綠兩色相互映襯，相得益彰。本例器形及紋飾源自商周青銅器方鼎。清代皇室承接了明代的宮廷收藏，其中包括大量高古青銅器；如清宮舊藏一例商代青銅鼎，收錄於《故宮青銅器》，北京，1999年，頁51，編號22。乾隆皇帝十分推崇自古物中取材器物造型與設計，其慕古之情對清代裝飾藝術之影響甚深。乾隆十四年，乾隆皇帝諭令將內府庋藏的鼎、尊、彝等青銅器分門別類，仿效《考古圖》、《宣和博古圖》體例薈輯成《西清古鑑》，成為當時有史以來規模最大的古銅器圖譜，相關討論可參見張麗端《宮廷之雅：清代仿古及畫意玉器特展圖錄》，台北，1997，頁49-50。紐約大都會藝術博物館館藏兩例清代翡翠仿古紋方蓋鼎，藏品編號02.18.499a,b與02.18.428a,b，收錄於H.R.Bishop著，《The Heber R. Bishop Collection of Jade and other Hard Stones》，手冊10，紐約，1909年，頁42與51。另見劍橋大學菲茨威廉博物館館藏一例十九世紀翡翠方鼎，收錄於J.C.S.Lin著，《The Immortal Stone: Chinese Jades from the Neolithic to the Twentieth Century》，劍橋，2009年，頁123。參考一例清晚期翠玉饕餮紋獅鈕活環耳方鼎，較本例形制相仿惟體積稍大（通高18.5厘米），及一例清晚期翠玉雕獸面紋爵，同售於香... 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
A RUBY-RED GLASS FACETED SNUFF BOTTLECirca 1730-1840The transparent bottle of deep-ruby-red colour, carved on either side with a raised faceted panel beneath the cylindrical neck, the surface with areas of iridescent swirling markings. 3.8cm (1 1/2in) high.Footnotes:約1730-1840年 寶石紅料磨棱鼻煙壺Provenance:Captain W.F. Collins (1865 - 1948), Beijing, who sent the snuff bottle to Bluett's on 30 March 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 23 May 1928, and thence by descent來源：高林士（1865-1948）於1926年3月30日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1928年5月23日購自上者，並由後人保存迄今Captain William Fellows Collins, was agent in Peking for the Anglo-French China Corporation Ltd and for S. Pearson & Son, and supplied Bluett's, John Sparks, Franck & Co and other dealers with consignment of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.A similar example is illustrated by R.Hall, Chinese Snuff Bottles III, Hong Kong, 1990, no.8. See also Snuff Bottles in the Collection of the National Palace Museum, 1991, p.210, nos.261 and 263. The attractive swirling iridescence on the present bottle may indicate a Yongzheng or early Qianlong date.A similar ruby-red faceted glass snuff bottle, 1800-1860, from the Bob C. Stevens collection, was sold by Bonhams New York, 9 September 2019, lot 111. See also a ruby-red faceted snuff bottle, Yongzheng mark and period, from the Mary and George Bloch collection, which was sold at Sotheby's Hong Kong, 24 November 2014, lot 94.高林士（William F. Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。同款鼻煙壺亦見於R.Hall著，《Chinese Snuff Bottles》卷三，香港，1990年，編號8；以及《故宮鼻煙壼》，台北，1991年，頁210，編號261與263。本例表面的渦狀炫彩表明其或製作於雍正時期或乾隆早期。參考一例Bob C. Stevens舊藏1800-1860年寶石紅料磨棱鼻煙壺，售於紐約邦瀚斯，2019年9月9日，拍品編號111。香港蘇富比亦曾於2014年11月24日售出一例瑪麗及莊智博舊藏清雍正寶石紅料磨棱鼻煙壺，拍品編號94。For further information on this lot please visit Bonhams.com
A VERY RARE PAIR OF IMPERIAL INSCRIBED CINNABAR LACQUER CARVED TEA BOWLSQianlong seal marks and of the period, the inscription dated Bingyin year, corresponding to 1746Each vessel with deep rounded sides rising from a straight foot to a gently flaring rim, carved to the exterior through layers of cinnabar lacquer to a black diaper-pattern ground with an Imperial poem, 'Three-Purity Tea,' Sanqing Cha, dated to the Bingyin year (corresponding to 1746) followed by the seals Qian and Long, all between two borders of ruyi designs encircling the rim and foot, against matching leiwen grounds around the foot and rim, the red-lacquered base intaglio-carved with a six-character seal mark within a recessed square, the interior lacquered brown. Each 11cm (4 3/8in) diam. (2).Footnotes:清乾隆 御製剔紅御題詩三清茶盌一對 「大清乾隆年製」、「乾隆丙寅小春御題」款 「乾」、「隆」印Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The present pair of tea bowls was part of a tea set used by the Qianlong Emperor at tea ceremonies held during New Year celebrations. The vessels are both inscribed with one of his favourite poems, Sanqing cha ('Three-Purity Tea'), which he wrote during the Bingyin year (1746), on the occasion of his 36th birthday while sipping tea in his studio on a cold winter's day. The poem refers to the tea made from plum blossoms, finger citron and pine nut kernels, which was offered to the Emperor during his visit to the sacred mountain Wutai. When brewed together in snow water, these three ingredients gave the tea a unique flavour and purity. The poem further describes the virtues of tea making and drinking, which reminded one of the Buddhist values of simplicity, austerity and purity. As a consummate connoisseur, The Qianlong Emperor combined art and tea at intimate gatherings within the Palace walls. A party hosted by the Emperor was a remarkable experience, an aesthetic convergence of artwork and tea leaf. The Qianlong Emperor brewed and tasted tea using the finest objects in the Palace Collection, a great treasure of implements and wares dating back to the eleventh century. During a gathering, the talk flowed from the age and glaze of a tea vessel to the specific number of buds and leaves plucked for a particular tea. Brewed and served, the tea itself was appreciated for its hue, scent and flavour, prompting a new yet leisurely stream of comments and observations. On the occasion of the New Year celebrations, the Emperor held a tea-drinking banquet in the Palace of Cherished Glory, Chonghua Gong, in the Forbidden City, where he asked his guests to compose poetry, and as a token of his appreciation, he rewarded the best poet with a 'Sanqingcha' bowl.The famous poem is recorded in the 'Anthology of Imperial Qianlong poems and prose' Qing gaozong yuzhi shiwen quanji, 'Imperial Poems' Yuzhi shiwen chuji, vol.1, chapter 36, p.17, and may be translated as:The plum blossom in appearance not ostentatious,The finger citron, scented and fresh, Pine nuts of most fragrant aroma,Three ingredients of outstanding purity.An infusion is brewed in a shallow tripod vessel,And the ingredients steeped in snow-water collected in a bamboo casket.After coming to a boil, bubbles like the eyes of fish or crabs can be seen in the surface of the water,Steam rises from the tripod appearing to alternate between Utpadanirodha birth and death. Teacups from the kilns of Yue sprinkled with Immortals' milk,The warmth of my yurt is agreeable to the joy of the mystic trance.The five Buddhist Skanda purify the greater part of all things,Spiritual awakening may occur but cannot be spoken of.The sweet smelling ingredients are dealt with and suitably delivered,Silky smooth the Immortals' wine, clear and limpid. Wo Quan's offering may be eaten.Lin Bu can admire the change of seasons.Nonchalantly the Koan of the Zhaozhou monk may be uttered,And the eccentricity of Yu Chuanzi laughed at heartily. On a cold night in winter, listening to the sound of the water clock,From the Guyue Studio I observe the moon, hanging in the sky like a jade archer's ring. I take advantage of what remains to drink my fill,And chant deliberately so that I might arise without exhaustion. Composed by the Emperor in the tenth lunar month of the Bingyin year [corresponding to 1746] during the reign of the Qianlong Emperor. The poem contains numerous literary and Buddhist allusions. The Manchu Imperial family were followers of the teachings of Tibetan Buddhism but much of the terminology used - to fit with Chinese poetic practice - relates to Chan Buddhism. Wo Quan was a mythical being who lived in the mountains, where he collected herbs for his own sustenance. He was particularly fond of pine nuts and was said to have presented some as a gift to the legendary Emperor Yao. Yao, however, did not eat them, and so missed out on their long life-giving properties. The Qianlong Emperor implies in the poem that, unlike the legendary Emperor Yao, he would not have hesitated. Another reference in the poem is made to 'the Monk of Zhaozhou'. This was Congshen (778-897), a Tang dynasty Chan Buddhist monk. In Chan Buddhism, a koan is a question, story or statement which may appear contradictory but after greater meditation upon, can lead to enlightenment. The koan of the Monk of Zhaozhou refers to the following story: when two monks visited Congshen, he asked if they had visited this temple before. When the first said yes, Consghen invited him to drink tea; when the second said no, Congshen also invited him to drink tea. When asked by the head monk why he had asked this seemingly pointless question, Congshen also invited him to drink tea. The reference echoes the Qianlong Emperor's enlightened generosity in hosting tea parties with his ministers. Compare with a very similar carved lacquer bowl, with the same poem, Qianlong seal mark and of the period, in the Qing Court Collection in the Palace Museum, Beijing, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2011, no.57. For a similar pair of lacquer bowls also carved with the Qianlong Emperor's poem Sanqing cha ('Three Purity Tea'), see a pair in the Tianjin Municipal Art Museum, illustrated in The Complete Series of Chinese Lacquer Zhongguo qiqi quanji, vol.6, Fuzhou, 1993, pl.211; and see another example in the Victoria and Albert Museum, London, which is illustrated by H.Garner, Chinese Lacquer, London, 1979, pl.93. Bowls inscribed with the Sanqing Cha poem were also produced in porcelain; see a blue and white bowl, Qianlong seal mark and of the period, illustrated in Special exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty in the National Palace Museum, Taipei, 1986, no.142; see also an iron-red example, Qianlong seal mark and of the period, also in the National Palace Museum, illustrated in Empty Vessels, Replenished Minds: the Culture, Practice, and Art of Tea, Taipei, 2002, no.129. Two further iron-red bowls, Qianlong seal mark and period, are illustrated in Late Chinese Imperial Porcelain, Art Gallery of New South Wales, Sydney, 1980, no.1.See a single very similar lacquer tea bowl with the same poem, Qianlong seal mark and of the period, which was sold at Christie's Hong Kong, 2 December 2015, lot 3163. See also a similar pair of Imperial inscribed cinnabar lacquer tea bowls, Qianlong mark and period, which were sold at Sotheby's Hong Ko... For further information on this lot please visit Bonhams.com
A FAMILLE VERTE 'TWO CRICKETS' WINE CUP18th/19th centuryThe shallow rounded sides rising to a gently flaring rim, enamelled around the exterior in green, iron-red, yellow and aubergine with a pair of crickets amongst flowering plants and rockwork, wood stand. 6cm (2 3/8in) diam. (2).Footnotes:十八/十九世紀 五彩草蟲紋盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族舊藏，並由後人保存迄今Crickets are associated with spring and summer, but are more often represented in Chinese art due to the homophonous relationship of their name with 'happiness', Xi, and auspiciousness, Xi. A pair of crickets represents the wish for double-happiness or auspiciousness, Shuang Xi.Compare with a related blue and white wine cup, circa 1725, salvaged from the Ca Mau wreck, decorated with cricket amidst flowers, in the Victoria and Albert Museum, London, acc.no.FE.179-2007.蟋蟀這一傳統鳴蟲，自古便是被吟詠的對象。因其諧音「喜來」，如本例繪有兩隻蟋蟀者，則有雙喜臨門，喜事不斷之意。倫敦維多利亞和阿爾伯特博物館館藏一例於金甌沉船（Ca Mau wreck）出水的約1725年青花酒盃，器身繪蟋蟀草蟲紋，館藏編號FE.179-2007，可為參照。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
A RARE LAPIS LAZULI TRIPOD INCENSE BURNER AND COVER, DINGQing DynastyThe lustrous blue stone carved around the exterior with an inscription reading 大唐貞觀寶鼎 ('Da Tang Zhenguan Baoding'), 'Precious ding from the Tang Zhenguan Reign', supported on three double scroll and paw cabriole feet, the sides with mythical-beast-head handles suspending loose rings, the domed cover similarly carved with characters, carved hardwood stand. 14.2cm (5 5/8in) wide across the handles. (3).Footnotes:清 青金石三足鼎式蓋爐Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 March 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年3月31日購自上者，並由後人保存迄今Lapis Lazuli was valued for its beautiful colour and and the sparkle of gold from the pyrite inclusions. See a closely-related but smaller lapis lazuli archaistic tripod incense burner and cover, late 18th/19th century, in the British Royal Collection, listed by 1920 in Queen Mary's Bibelots, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.III, London, 2016, p.827, no.1922.A related archaistic lapis lazuli censer, gui, dated 18th century (12cm wide), was sold at Christie's London, 11 November 2011, lot 1368.青金石屬珍罕石材，色澤藍紫，部分有白斑紋。參考英國皇家收藏一例十八世紀晚期/十九世紀青金石仿古紋三足爐，形似本例惟體積稍小，早在1920年即被收錄入《瑪麗王后擺飾（Queen Mary's Bibelots）》清單，圖見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2016年，頁827，編號1922。倫敦佳士得曾於2011年11月11日售出一例十八世紀青金石簋式爐，拍品編號1368，可資比對。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
TWO EXCEPTIONALLY RARE REALGAR CUPS18th centuryOne of rounded square form, the other of stylised peach form, set on raised feet, the vessels displaying the natural properties of the orange-red sulphide mineral, each with pewter lining. The larger 7.2cm (2 7/8in) wide. (2).Footnotes:十八世紀 雄黄小盃一組兩件Provenance:Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 30 September 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1925年9月30日購自上者，並由後人保存迄今Objects made of realgar, which is a sulphide of arsenic found in Yunnan, Guizhou and Gansu Provinces, are exceptionally rare and very few can be found in museum or private collections. See in the National Museum of Scotland, Edinburgh, a realgar cup, 18th/19th century, acc.no.A.1924.478, and a realgar figure of Budai, 19th century, acc.no.A.1925.414. See also a relagar figure of Shoulao, Qing dynasty, in the British Museum, London, acc.no.1913,0408.1; and a figure of the Daoist Immortal He Xiangu, 18th century, in the British Museum, London, illustrated by R.S.Jenyns, Chinese Art, vol.3, Fribourg, 1981, p.220, no.200; and see a partially realgar inkcake, Qianlong mark dated to 1737 and of the period, in the Qing Court Collection, in the Palace Museum, Beijing, coll.no.Gu00129724-7/26. R.Soame Jenyns notes in ibid., p.220 that realgar may have been one of the constituents used by Daoists in their search for the Elixir of Immortality (which often had the opposite result). The strong connection of realgar in Chinese art to Daoism is supported by the examples above which include figures of Daoist Immortals, and the present lot which includes a peach-shaped cup, a fruit which symbolises in Daoist lore the wish for longevity. The realgar material was so prized that the yellow-orange arsenic sulfide mineral was often imitated in glass, including vessels made for the Imperial Court during the celebrated Qianlong reign. See a pair of imitation realgar glass vases, Qianlong four-character seal marks and period, illustrated by E.S.Rawski and J.Rawson, ed., China: The Three Emperors 1662-1795, London, 2005, p.304, no.234; and see an imitation realgar glass wine cup, Qianlong four-character mark and of the period, which was sold at Christie's Hong Kong, 29 May 2013, lot 2312.雄黃，《本草綱目》稱其又名石黃，化學成分為三硫化砷，中國雲南、貴族和甘肅等省都有出產。雄黃製品於博物館或私人收藏中存世極少，已知者包括蘇格蘭國立博物館館藏一例十八/十九世紀雄黃盃，藏品編號A.1924.478，及十九世紀雄黃布袋和尚像，藏品編號A.1925.414。倫敦大英博物館藏亦藏有兩例雄黃製品，包括一例清雄黃壽老，藏品編號1913,0408.1；及一例十八世紀何仙姑像，收錄於詹寧斯著，《中國藝術（Chinese Art）》，卷三，弗里堡，1981年，頁220，編號200。北京故宮博物院館藏一件清宮舊藏清乾隆蘭亭修褉黃御墨，以包括雄黃在內的天然黃色材料製成，藏品編號Gu00129724-7/26。詹寧斯在其《中國藝術》一書第220頁中稱，雄黃或許是道家煉製丹藥時所用成分之一，雖然效果常常適得其反。上述幾例道教人物像，以及本例其一盃呈桃形，這一道教語義下象徵長壽的水果，均可視為雄黃與道教的緊密聯繫在藝術上的體現。雄黃材料色澤悅目但難以保存，因此益發珍貴。清中期後，以玻璃仿製寶石之風日盛，民間乃至清廷造辦處皆可見仿雄黃料製品，如清乾隆御製仿雄黃料六棱瓶一對，收錄於E.S.Rawski與J.Rawson合著，《China: The Three Emperors 1662-1795》，倫敦，2005年，頁304，編號234；以及一例清乾隆仿雄黃料酒盃，售於香港佳士得，2013年5月29日，拍品編號2312。For further information on this lot please visit Bonhams.com
A FINE AND RARE WHITE JADE 'DRAGON AND YOUNG' POURING VESSEL, YIQianlongThe deep rounded sides carved with a pouring lip to one end and a chilong handle to the other clambering up the side of the vessel, with its head resting at the rim, the sides carved in high relief with sinuous, striding chilong amongst incised wispy clouds, the lustrous stone of white even tone. 14cm (5 1/2in) long.Footnotes:清乾隆 白玉雕蒼龍教子匜Provenance:Spink & Son Ltd., LondonParry Collection, London, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦Parry家族收藏，並由後人保存迄今Notable for its exceptionally lustrous white jade and highly refined high relief carving of sinuous chilong clambering its elegant body, the present pouring vessel counts amongst the finest jade carvings made during the celebrated reign of the Qianlong Emperor. The exceptional purity of the jade, particularly visible in the areas left unadorned, smoothly polished to a lustrous sheen, here combines with the archaistic style favoured by the Qianlong Emperor and the masterful ingenuity of craftsmanship and design. In form and design, the present vessel is inspired by the archaic bronze water pouring vessel, yi, which was often used in conjunction with a pan for the ritual washing of hands. It was a late Western Zhou adaptation of the gong and the he vessels, and its use continued well into the Eastern Zhou period; see a bronze pouring vessel, yi, Western Zhou dynasty, cast with clambering chilong, illustrated by J.Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, pl.31. At the same time, the depictions of sinuous chilong displaying curled and bifurcated tails is inspired by the jade carving style of the Han dynasty; see a jade scabbard chape, Han dynasty, carved with a pair of chilong illustrated by J.Rawson, Chinese Jade From the Neolithic to the Qing, London, 1995, p.299, no.21:9. The Qianlong Emperor's appreciation of jade, expressed through more than eight hundred of his writings, combined with his passion for antiques, resulted in his commissioning significant numbers of archaistic jade carvings for his Court. The Emperor advocated taking inspiration from antiquity in form and design to 'restore the ancient ways', or the intrinsic values of harmony, simplicity and happy exuberance. In a poem entitled 'The Ballad on a Cup of Jade', composed during the eighth year of his reign (1743), the Emperor maintained the importance of appreciating jade as a genuinely personal path towards virtue. The Emperor instructed the Court to collect drawings of antiquities, such as the Xi Qing Gu Jian (Catalogue of Xiqing Antiquities). To fulfill the Emperor's ambitious project therefore, the artisans working at the Imperial Ateliers and in jade workshops in Suzhou were encouraged to carefully study the remarkable archaic bronzes in the Court collection or woodblocks depicting such antiques to draw inspiration for their new creations; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.The exceptional quality of the white jade stone which was used to produce this vessel would have become more available for the Jade Workshops following the Qianlong Emperor's conquest of the Dzungar Khanate between 1755 and 1759, where much of the jade was sourced. The jade carver, whilst demonstrating his skills in the form and relief carving, ensured that the magnificent quality of the stone would be exhibited through the areas left unadorned. The present vessel therefore encapsulates the Qianlong Emperor's personal taste for antiquity in form and design, combined with the superb jade material.A related white jade archaistic pouring vessel yi carved with clambering chilong, Qianlong, in the Musée National du Chateau de Fontainbleu, France, is illustrated in Jade: From Emperors to Art Deco, Paris, 2016, p.238, no.192.白玉琢制，圓身深腹，柄以攀爬於口沿之上的一尾螭龍為飾，流口位置與螭龍柄相對。雙浮雕螭龍分飾盃身兩側，穿行於縷雲之間。本例可謂乾隆年間玉雕器皿之佼佼者。其玉色光潔，精巧雕工在優雅蜿蜒的龍身上尤為突出。玉質之純淨在精心打磨過的素面之處表露無遺。除其精湛玉工外，該匜亦融合了乾隆皇帝所推崇的復古風格。該器以古代青銅匜為濫觴。後者在上古時代常與青銅盤搭配，於儀禮上供濯洗之用。盤匜搭配作為儀禮水器的使用方式興自西周，匜器也逐漸取代了之前流行的注水器如觥、盉等，並一直延續到東周時期。以螭龍紋為飾的西周青銅匜，可見於J.Rawson著，《The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes》，香港，1988年，圖版31。本例玉匜上的螭龍形象則可能源於漢代，參見一例漢螭龍紋玉劍珌，收錄於J.Rawson著，《Chinese Jade From the Neolithic to the Qing》，倫敦，1995年，頁299，編號21:9。乾隆皇帝筆下有八百多篇詠玉的詩文，足見其對這種材質之喜愛珍重。加上他對古物的追慕之情，當時宮廷內按其交辦所製之復古風格玉雕數目龐大。乾隆一生以「復古」為念，更在作於乾隆八年（1743年）的御製文《玉盃記》中以玉工所言煉玉之法比之於君子之道，並直言「執藝以諫者，古典所不廢」讚賞&#... For further information on this lot please visit Bonhams.com
A MUGHAL-STYLE JADEITE 'CHRYSANTHEMUM' TRAY19th centuryOf oval form, exquisitely carved with radiating bands of chrysanthemum petals, flanked at each end with a single flowerhead issuing arched leaves to form the handles and suspending loose rings, the translucent stone of pale lavender tone, with hongmu stand. 11.3cm (4 1/2in) long. (2).Footnotes:十九世紀 花式雙柄翡翠水丞Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Compare with a related white jade chrysanthemum petalled dish in the National Museum of History, Taipei, illustrated in The Jade-Carving Art in the Ch'ing Dynasty, Taipei, 1990, p.31.參考台北國立故宮博物院館藏一例白玉花式雙柄水丞，收錄於林淑心主編，《清代玉雕藝術》，台北，1990年，頁31。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
A VERY RARE IMPERIAL TWO-COLOUR CINNABAR-LACQUERED YIXING TEAPOT AND COVERQianlongThe purple clay teapot covered in red lacquer and finely carved with confronted phoenix amongst a profusion of leafy, flowering peony stems, reserved on a black floral diaper ground, the foot, rim and finial with bands of key-fret design, the spout and handle with ruyi motif borders, the domed cover similarly decorated and surmounted by a spherical finial. 18.3cm (7 1/4in) long. (2).Footnotes:清乾隆 御製紫砂胎剔紅鳳穿牡丹紋壺Provenance:Spink & Son Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 30 October 1919, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1919年10月30日購自上者，並由後人保存迄今The present lavishly carved two-colour cinnabar lacquer Yixing teapot and cover, was made for use at the Imperial Court. The design on each main side of a pair of phoenix flanking a blossoming tree peony, indicates it was likely made for use by the Empress or one of the Imperial consorts. Carved cinnabar lacquer teapots were first made during the late Ming dynasty; see from the Qing Court Collection, an ovoid octagonal 'dragon and phoenix' teapot and cover, Jiajing mark and period; a further development of combining carved lacquer on an Yixing body, can be seen in a rectangular teapot and cover, bearing the mark of Shi Dabin, late Ming dynasty, also from the Qing Court Collection, decorated with figures in landscape; see The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Hong Kong, 2006, nos.145 and 198.Embellished Yixing teapots continued during the Qing dynasty from the reign of the Kangxi Emperor, with the Imperial Ateliers also experimenting with other methods of decoration such as famille rose enamels. During the Yongzheng and Qianlong reigns, Yixing teapots were also decorated in gilt lacquer; for examples see Geng Baochang, The Complete Collection of Treasures of the Palace Museum: Purple Sandy Ware, Shanghai, 2008, nos.4, 25 and 26. A related carved cinnabar lacquer Yixing teapot and cover, Qianlong gilt seal mark and period, in the National Palace Museum, Taipei, is illustrated in Carving the Subtle Radiance of Colors: Treasured Lacquerware in the National Palace Museum, Taipei, 2007, no.146. A further unmarked example, 18th century from the K.S.Lo Collection, in the Flagstaff House Museum of Tea Ware, Hong Kong, is illustrated in The Art of the Yixing Potter, Hong Kong, 1990, p.150, pl.35.The symbolism of the phoenix on the teapot, according to the 'Classic of Mountains and Seas' (Shanhai Jing), embodies benevolence, righteousness, propriety, wisdom, and sincerity: all attributes of which an Empress should possess. The subject also symbolises the wish for marital harmony by showing the phoenix as a pair. In addition to this, the peony is a symbol of wealth and prosperity and is sometimes known as the 'flower of riches and honour' (fugui hua). The ruyi lappets around the spout and handle represent the wish for long life.Compare with a related cinnabar lacquered Yixing teapot, Qianlong, which was sold at Sotheby's London, 11 May 2016, lot 78. See also a cinnabar lacquered Yixing teapot, Qianlong mark and period, which was sold at Christie's Hong Kong, 1 December 2010, lot 3097.壺紫砂胎，圓鼓腹，環柄，曲流，圈足。通體髹漆，深色錦地，壺身每側各有兩隻翔鳳飛舞於牡丹花叢之間，鳳鳥姿態靈活，牡丹枝葉婉轉，花形圓滿，整體雍容華貴，富麗堂皇。剔紅執壺最早見於明後期，可見清宮舊藏一例明嘉靖剔紅龍鳳紋八棱式執壺，底刻「大明嘉靖年制」楷書款，及一例明晚期「時大彬」款紫砂胎剔紅山水人物圖執壺，均收錄於《故宮博物院藏文物珍品全集：元明漆器》，香港，2006年，編號145與198。康熙時期大量湧現以宜興紫砂為胎，外施彩釉的紫砂壺；雍正時更以描金為飾，參見《故宮博物院藏文物珍品大系：紫砂器》，上海，2008年，編號4、25與26三例。台北國立故宮博物院館藏一例清乾隆宜興胎剔紅雜寶茶壺，收錄於《和光剔彩——故宮藏漆》，台北，2007，編號146。另見香港藝術館茶具文物館藏羅桂祥博士舊藏一例十八世紀執壺，收錄於《宜興陶藝》，香港，1990年，頁150，圖版35。鳳穿牡丹為中國傳統吉祥紋飾，鳳凰為鳥中之王，牡丹為花中之王，表明本例執壺或為皇后或宮中某位妃嬪所用。 《山海經》載，鳳凰羽毛的花紋形似「德」、「義」、「禮」、「仁」、「信」五個文字，象徵皇后五德兼備。倫敦蘇富比曾售一例清乾隆宜興紫砂胎剔紅八寶紋茶壺，2016年5月11日，拍品編號78，可為參考。另有一例清乾隆宜興紫砂剔紅蓮紋茶壼，售於香港佳士得，2010年12月1日，拍品編號3097ᦁ... For further information on this lot please visit Bonhams.com
A PAIR OF CINNABAR LACQUER CARVED PEACH-SHAPED 'DAOIST IMMORTALS' BOXES AND COVERSQianlongThe covers variously depicting Shoulao and Han Xiangzi, each with two boy attendants, in landscapes of pine, paulownia trees and rockwork, within auspicious motif borders of bats and peaches, all reserved against geometric floral-pattern grounds, the bases decorated with further diaper-patterns. Each 12cm (4 3/4in) long. (4).Footnotes:清乾隆 剔紅道教人物故事圖桃形蓋盒一對Provenance: Captain W.F. Collins (1865-1948), Beijing, who sent the lacquer boxes to Bluett's on 27 February 1926Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 26 May 1926, and thence by descent來源：高林士於1926年2月27日由北京送至倫敦古董商Bluett's倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1926年5月26日購自上者，並由後人保存迄今Captain William Fellows Collins was agent in Peking for the Anglo-French China Corporation Ltd and for S. Pearson & Son, and supplied Bluett's. John Sparks, Franck & Co and other dealers with consignments of Chinese ceramics and works of art from Beijing. He later reached the rank of Colonel and was awarded the DSO. For more information about Collins, see R.Davids and D.Jellinek, Provenance, Oxon, 2011, p.124.Compare with a similar pair of peach-shaped boxes and covers with Daoist Immortals, Qianlong, which was presented by the Qianlong Emperor to Lord Macartney's Embassy of 1792-1794, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, p.865, nos.1988-1989. The peach is among the most important auspicious symbols in Chinese culture, and vessels made in its form were very much favoured by the Emperors. Peaches became associated with Daoism and symbolised Immortality. According to legend, the Queen Mother of the West grew peaches in an orchard that would bestow Immortality on those who would eat them. Furthermore, the Daoist deity Shoulao, the God of Longevity, is often depicted holding a peach.See a single related cinnabar lacquer peach box and cover with an Immortal on the cover, 18th century, which was sold at Sotheby's London, 18 May 2018, lot 458.高林士（William F. Collins上尉），時任聯華銀公司（Anglo-French China Corporation Ltd）及英國培生集團（S. Pearson & Son）駐北京代理，並為英國Bluett's、John Sparks、Franck & Co 等古董商由北京提供中國古董及藝術品。其後擢升至上校，並被授予傑出服務勳章。有關高林士的具體信息，參見R.Davids與D.Jellinek著，《Provenance》，牛津，2011年，頁124。桃是中國傳統文化中最為重要的吉祥紋飾之一，在道教語境下寓意長生不老。蓋面隨形開光雕飾五蝠，意指「洪福齊天」，五蝠音同五福，即代表「高壽、康寧、富貴、好德、善終」，搭配壽桃形制，象徵福祿壽三喜兼備。清乾隆年間，雕漆工藝達到頂峰。同類桃式蓋盒可見馬戛爾尼使團於1792至1794年訪華期間，清乾隆皇帝贈與使團之清乾隆剔紅道教人物故事圖桃形蓋盒一對，收錄於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，倫敦，2016年，頁865，編號1988-1989。參考一件十八世紀剔紅福壽雙全紋桃式蓋盒，2018年5月18日售於倫敦蘇富比，拍品編號458。For further information on this lot please visit Bonhams.com
A FAMILLE ROSE RECTANGULAR TABLE SCREENMid Qing DynastyFinely painted with a harbour scene including a walled settlement beside an ocean extending to the distance, framed by blue mountains, the harbour with various boats, inscribed with a Tang dynasty poem and with seals, hongmu stand and frame. Overall 34.9cm (13 3/4in) high.Footnotes:清中期 粉彩「滕王閣」圖硯屏Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The screen depicts the pavilion of Prince Teng. The inscription confirms the identity of the building, and is a line from the Tang poet Wang Bo (650-676 AD), which may be translated as:'Teng tower, the high pavilion, facing the river isle'The Pavilion of Prince Teng, first built in 653 AD by Li Yuanying, younger brother of Emperor Taizong of the Tang dynasty, is a real pavilion in Nanchang, Jiangxi Province, on the east bank of the Gan river. It is considered one of the three great towers of southern China, along with Yueyang tower and Yellow Crane pavilion. Teng tower is frequently depicted in Chinese art, most famously by the Yuan dynasty painter Xia Yong (active 1340s-1360s); see a painting in the Museum of Fine Arts, Boston (acc.no.29.964). See also a large blue and white vase depicting the same Teng pavilion, Kangxi, which was sold at Bonhams London, 12 November 2015, lot 124.以粉彩描繪江南名勝滕王閣景色，畫面右側以墨彩書初唐詩人王勃之詩句，「滕王高閣臨江渚」。滕王閣座落於江西南昌，贛江東岸。始建於唐永徽四年（653年），為當時任洪州都督的唐高祖李淵之子李元嬰所建。與岳陽樓、黃鶴樓並稱江南三大名樓，歷代文人墨客以其為題的詩詞書畫不勝枚舉，如現藏於美國波士頓美術館之元代夏永所繪《滕王閣圖》，藏品編號29.964。另見一例清康熙青花「滕王閣序」題字棒槌大瓶，售於倫敦邦瀚斯，2015年11月12日，拍品編號124。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
A RARE WHITE JADE CUP18th centuryThe undecorated vessel with tall sides rising from a short foot, the stone of attractive lustrous white tone, with reticulated zitan stand. 5.7cm (2 1/4in) high. (2).Footnotes:十八世紀 白玉盃Provenance: Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Well proportioned and smoothly polished to a lustrous sheen, white jade cups such as the present example highlight the flawless quality of translucent stone and the purity of the material. They allow the beholder to revel in the natural beauty of the stone and the elegant pure form of the cup.See a pair of similar white jade cups, Qianlong, in Manchester Art Gallery, acc.nos.1934.36-37. Compare also a related white jade wine cup, Qianlong mark and period, illustrated in Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, p.76, no.26.Compare with a similar pair of white jade cups, of the same size and form, which was sold at Christie's New York, 17 March 2017, lot 1102.白玉整挖而成，直口直壁，至腹部下方處下斂至圈足。器身線型圓潤，光素無紋，彰顯玉材自身之清素雅緻。曼徹斯特美術館館藏相似乾隆白玉盃一對，藏品編號1934.36-37。另見一例清乾隆白玉盃，收錄於《閣有天珍：中國文房玉雕》，香港，2008年，頁76，編號26。紐約佳士得曾售一對白玉盃，2017年3月17日，拍品編號1102，形制大小皆似本例，可為比對。For further information on this lot please visit Bonhams.com
A VERY FINE AND RARE JADEITE RETICULATED THUMB RING19th centuryOf cylindrical form with the top rim of rounded slanted form and the lower rim bevelled, skillfully decorated in openwork with four medallions each enclosing a bat with a single auspicious fruit including finger citron, peach, pomegranate and gourd, each medallion flanked by a pair of confronted bats, all framed between key-fret bands, the lower rim with a geometric design, the attractive semi-translucent stone of apple-green and frost-white tones. 3.1cm (1 1/4in) diam.Footnotes:十九世紀 鏤雕福壽紋翡翠扳指Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今Historically, archery was central to Chinese life, being used during hunting activities, battles and various sports. Thumb rings, such as the present lot, were used by archers as protection and to aid in releasing the bowstring. During the Qing dynasty, thumb rings were produced in various media and carved with a profusion of subjects ranging from poems, flowers, figures and landscape views. They were highly fashionable among the literati as symbols of culture and wealth.Jadeite rings carved in openwork are rare. A plain jadeite thumb ring, 18th/19th century, in the British Royal Collection, London, is illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, vol.3, p.809, no.1881.A related plain jadeite archer's thumb ring, 18th/19th century, was sold at Christie's Hong Kong, 1 June 2011, lot 3896.中國使用弓箭的歷史十分悠久，自古以來，箭術即是戰爭、狩獵和運動中必不可少的部分。韘，即扳指，最早為騎射之具，於拉弓時佩戴，用來保護手指同時可減少手指的運動量，並且有助於準確釋放弓弦。及至明末，射箭術不再是一項必不可少的技能。清代的扳指則愈發少了功能性而重裝飾性，紋飾題材日益豐富，成為王公貴族和文人雅士把玩炫耀之物。鏤雕裝飾的翡翠扳指較為少見，參考英國皇家收藏信託所藏一例清乾隆翡翠扳指，收錄於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen》，卷三，頁809，編號1881。另見一例十八/十九世紀翡翠扳指，售於香港佳士得，2011年6月1日，拍品編號3896。For further information on this lot please visit Bonhams.com
AN EXCEPTIONALLY RARE IMPERIAL RED LACQUER INSCRIBED CHRYSANTHEMUM-SHAPED BOWL AND COVERQianlong seal marks and of the period, the inscription dated Spring 1776The wide elegant body supported on a spreading circular foot and curving upwards to a gently-flared rim, the domed cover with a circular knop, decorated overall with raised vertical petals, all lacquered in brilliant vermillion, the tip of the cover and the base of the bowl each with a gilt four-character Imperial zhuanshu seal mark, the central interior cartouches lacquered black and each gilt with a dated kaishu inscription. 10.6cm (4 1/8in) diam. (2).Footnotes:清乾隆四十一年 御製脫胎朱漆御題詩菊瓣式蓋盌 「乾隆年製」、「乾隆丙申春御題」篆書款Provenance:Spink & Son Ltd., London,Mrs E. A. Parry (1879-1977), London, acquired from the above on 30 June 1933, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.252, no.2957.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1933年6月30日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁252，編號2957The present lot was exhibited in one of the most historic and prestigious exhibitions of Chinese art ever held. The exhibition's importance is reflected by its patrons who not only included King George V and Queen Mary, but also the President of the Chinese Republic. The committee of honour included luminaries such as Hu Shi and Cai Yuanpei; and the executive committee counted among its members renowned collectors and scholars such as R.L.Hobson, George Eumorfopoulos and Sir Percival David. With 3077 exhibits, it was not only one of the largest exhibitions of Chinese art, but many of the exhibits, including rare objects from the Palace Museum were seen in Europe for the first time. In this extraordinary exhibition, the present lot was amongst the very few Imperial Qianlong period lacquer wares chosen to be included, alongside a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, inscribed with an Imperial poem, lent by Sir Percival David, who was the Director of the Exhibition Committee.Compare with an identical lacquer chrysanthemum-shaped tea bowl and cover, also gilt decorated with two Qianlong seal marks and an inscribed Imperial poem, in the Qing Court Collection, illustrated in Lacquer Wares of the Qing Dynasty: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, pp.215, no.164. See also another identical bowl in the Victoria and Albert Museum, London, gifted by Sir Harry Garner, illustrated by H.Garner, Chinese Lacquer, London-Boston, p.150, pl.97.The present bowl and cover were made by Imperial commission by artisans in Suzhou specialising in the 'hollow dry-lacquer' technique, with the inscriptions then carved in the Imperial Workshop in Beijing. With remarkably thin and delicate walls, the 'chrysanthemum' petals of the cover perfectly fit the fluted bowl, representing the highest quality of Qing Imperial lacquer craftsmanship. The interior of the bowl and the cover both have a gilt inscription of a poem by the Qianlong Emperor, dated 1776 which compares the vessel to a chrysanthemum flower. The poems may be translated as follows: 'It is made in the form of a fragrant chrysanthemum,And yet it is even more delicate,Drinking tea from it may be likened to sipping dew,from a newly plucked blossom.Imperially inscribed in the Spring of the Bingshen year of the Qianlong reign'.The Qianlong Emperor's poem likens drinking tea from this cup to drinking dew from a chrysanthemum: a fairy-like experience reserved for poets, Immortals and sages. The chrysanthemum was long associated with the poet Tao Yuanming (365-427) who lived during the turbulent transition between the Jin and Liu Song dynasties. To escape the political turmoil, he retired in midlife to a small estate to live out his days in rustic obscurity, drinking wine and writing poetry. Private and quiet as his life was, Tao's reputation grew steadily after his death, particularly for his associations with chrysanthemums, which he grew in a small patch by the eastern fence of his retirement estate; see S.Nelson, 'Revisiting the Eastern Fence: Tao Qian's Chrysanthemums', The Art Bulletin, 2001, vol.83, no.3, pp.437-460. The chrysanthemum, an autumnal flower, together with Tao's poetry of retirement, came to encapsulate the eremitic ideal of the scholar returning to nature for quiet contemplation. Over time, the chrysanthemum, together with the bamboo, orchid and prunus was regarded as one of the 'Four Gentlemanly Flowers': flowers that represented Confucian ideals to be emulated by true gentlemen. As such, the chrysanthemum flower provided much inspiration to artists and craftsmen from as early as the Song dynasty. Bowls and vessels decorated with chrysanthemum motifs were traditional gifts bestowed at Imperial celebrations, particularly during the Double Ninth festival (occurring on the ninth day of the ninth month) or Double Yang festival, where it was customary to climb a high mountain, drink chrysanthemum liquor and wear chrysanthemum flowers. Chrysanthemums were considered to have cleansing qualities and were used in medicine to cure illness and thus were also emblematic of longevity and fertility, because of the multitude of their petals. Chrysanthemums appear to have been popular motifs decorating vessels produced during the reign of the Qianlong Emperor, and because of the flowers' association with longevity, it is possible that the Emperor took an increasing interest in the motif as he approached retirement. See also a red lacquer chrysanthemum-shaped box and cover, Qianlong seal mark and of the period, with gilt poetic inscription, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Shanghai, 2006, p.216, no.165.The Qianlong Emperor's enthusiasm for the chrysanthemum motif may also have been inspired by a powerful predecessor of his, the Yongle Emperor. On a red lacquer 'chrysanthemum' dish, Qianlong mark and of the period, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen, London, 2016, vol.III, p.848, no.1954, there is a poem dated 1774, the title of which is 'In praise of a chrysanthemum dish made in imitation of the vermillion lacquer of the reign of the Yongle Emperor' (Yong fang Yongle zhuqi juhua pan). The Ming dynasty Yongle Emperor (1403-1424) was one of the most energetic and powerful rulers in Chinese history. Under his vibrant reign, numerous technical heights were reached in the production of porcelain and lacquer. Not to be outdone, the Qianlong Emperor also may have felt that he wished to appropriate the chrysanthemum form of lacquerware for himself, as both a homage to former glorious Emperors and also as a subtle expression of his own stature. Compare with an identical cinnabar lacquer 'chrysanthemum' bowl and cover, Qianlong seal mark and of the period, which was sold at Bonhams Hong Kong, 24 November 2013, lot 342.本拍品曾借展... For further information on this lot please visit Bonhams.com
A FINE AND RARE CLOISONNÉ ENAMEL SCREEN AND STANDThe screen first half 17th century, the hardwood frame and stand 18th/19th centuryThe rectangular screen brightly enamelled with a scene of three sages beneath a rocky cliff rising to the wispy clouds and gnarled pine tree, all beside billowing green waves with white foam, with further blue mountains in the distance, all beneath a turquoise blue sky, set within a carved and pierced hardwood frame and stand. Overall 49.4cm (19 3/8in) high x 48.5cm (19 1/8in) wide. (2).Footnotes:十七世紀上半葉 銅胎掐絲琺瑯高士圖插屏 鑲十八/十九世紀硬木邊框Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.169, no.2002.來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁169，編號2002This rare screen was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the exhibition committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The enamel decoration on the present lot is exceptional for the high quality of its execution with subtle application of mixed tones of translucent enamels over opaque ones, notably in the depiction of water and rocks, simulating painting.Compare the treatment of the sky and figures with that on a cloisonné enamel incense burner, Ming dynasty, 17th century, in the Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties,New York, 2011, p.308, no.160, which was exhibited in 1935-1936 in the Royal Academy Exhibition alongside the present lot. See also a related cloisonné enamel panel with a scene of the lonely angler Jiang Ziya in a rugged mountainscape by water, first half 17th century, illustrated by A.Lutz, and H.Brinker, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.150.本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現在ࠤ... 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
A Collection of Books etc on a Topic of Art to Include 973 Edition of Albert Durer The Landscape Watercolours by Walter Koschatzky, Garcia Lorca by Gregorio Prieto, Drawings by Spanish Masters, The Printed Sources of Western Art Edited by Theodore Besterman 1972 Edition, Les Chasse a Chantilly
A rare and interesting late Victorian Arts & Crafts silver plated book covering, 24,5cm high, ornate raised designs of angels in the Art Nouvea taste, binding damaged and back cover loose, the Album page is marked, "The Cover whih enloses these pages was designed and modelled by Miss. M. Lillian Simpson, on a commision from the Council of the Art of London...", dated 1896, the covers and spine impressed Art Union of London 1st January 1896
A small collection of Art Deco period and later ceramics, incuding a Clarice Cliff Bizarre marmalade pot, chipped, a Sadler racing car teapot, a set of six Shelley coffee cups and a saucers and a cream jug, a set of Maling Tiffin cups and saucers and a Crown Ducal jug the Clarice Cliff - there is a chip to the top rim, light surface scratches,and minor paint loss, otherwise generally good condition, no obvious signs of significant damage or repair, please see additional images
An Old English vintage wristwatch with 48mm octagonal baton dial, in a 62mm octagonal white case, original purple material strap; another with 39mm circular white dial, roman numerals, in a 53mm burgundy and gilt metal case, paisley material strap; a matching cravat; and an Art Deco style compact.
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