A FAMILLE VERTE BARREL-SHAPED TEAPOT AND COVER, KANGXI PERIOD China, ca. 1700. The body decorated with bosses to the upper and lower rim. The wide, slightly domed lid with a bud-shaped finial. The teapot painted in emerald- and apple-green, yellow, iron-red, and aubergine enamels to one side with a prunus branch and to the other with blossoming peonies. The cover decorated with flowering branches encircled by a diapered band interspersed with auspicious symbols. The elegantly curved spout decorated with flames in iron-red.Provenance: Philip Suval, Inc., New York, 1993. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from Philip Suval, New York, dated 11 June 1993, describing the piece as a famille verte drum shaped teapot and cover, dating it to the Kangxi period, ca. 1700, and stating a purchase price of USD 3,000 or approx. EUR 6,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Philip Suval Inc. was a noted art gallery, operating from at least 1879 in Southampton, New York, with an additional two locations listed in Manhattan by 1930. They are still in business today, specializing in antique ceramics. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Good condition with minor old wear and expected manufacturing flaws, including dark spots and pitting. The handle with a minuscule hairline.Weight: 547.1 g Dimensions: Length 18.9 cm, Height 11.1 cmLiterature comparison:Compare a related famille verte barrel shaped teapot, with a replaced spout, Kangxi period, in the collection of the Minneapolis Institute of Art, accession number 98.90A,B.Auction result comparison:Type: RelatedAuction: Bonhams London, 6 November 2008, lot 166Price: GBP 3,600 or approx. EUR 6,600 converted and adjusted for inflation at the time of writingDescription: A famille verte powder-blue-ground barrel-shaped 'flowers' teapot and cover, Kangxi periodExpert remark: Compare the closely related barrel-form, decoration, and size (11 cm). Note the powder blue glaze.康熙硬彩開光花卉紋茶壺中國，約1700年。壺體呈直筒式，前有短曲流，流口斜平切，扳彎曲，平壺蓋，鈕做頂珠狀。壺身上下各有一圈寶珠紋，中間開光五彩描繪富貴花卉紋。一側繪有桃樹，另一側繪有盛開的牡丹。壺蓋上描繪花樹。 來源：紐約Philip Suval，Inc.藝廊，1993年；Richard 與 Maxine Markell購於上述藝廊。隨附1993年6月11日原始發票複印本，描述年代為康熙時期，約1700年，價格為USD 3,000 或相當於 EUR 6,000 (根據通貨膨脹率)。Philip Suval Inc.藝廊是一家知名藝廊，至少從 1879 年開始在紐約南安普頓開展業務，到 1930 年在曼哈頓另外兩個地點。他們今天仍在營業，專門從事古董陶瓷。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況良好，有輕微磨損和製造缺陷，包括黑點和點蝕，手柄有細裂紋。 重量：547.1 克 尺寸：長18.9 厘米，高 11.1 厘米 文獻比較： 比較一件相近的康熙粉彩開光花卉紋茶壺，壺口被替換，收藏於明尼阿波利斯美術館，館藏編號98.90A,B。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2008年11月6日，lot 166 價格：GBP 3,600（相當於今日EUR 6,600） 描述：康熙粉彩藍地開光花卉紋茶壺 專家評論：比較非常相近的桶形、裝飾和尺寸(11 厘米)。請注意此壺為藍釉。
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A FINE PAIR OF FAMILLE ROSE TEA BOWLS AND SAUCERS, LATE YONGZHENG TO EARLY QIANLONG PERIODChina, circa 1730-1740. The dishes each with fluted sides and scalloped rim, finely decorated in gilt and bright enamels to the center with a roundel enclosing a lady seated on a rockwork bench below a flowering prunus tree and with two fluttering butterflies, and to the sides with colorful panels, some of which are decorated with diaper patterns including wan symbols and circular designs. The cups similarly decorated with a roundel at the well, colorful panels to the exterior walls below a scalloped rim, and neatly incised in anhua at the interior sides to depict bamboo stalks.Provenance: S. Marchant & Son, London, 2005. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant & Son, London, dated 2 April 2005, dating the piece to the Yongzheng or early Qianlong period, circa 1735, and stating a purchase price of USD 3,500 or approx. EUR 5,100 (converted and adjusted for inflation at the time of writing), accompanies this lot. The base of one dish with an old label, 'Marchant London Qianlong 1736-1795'. Richard Markell (1932-2021) was the son of chiropractor Maurice J. Markell, who established the family business Markell Shoes focusing on orthopedic footwear and orthotic devices. Richard and his wife Maxine (1935-2019) were avid collectors of Asian art, specializing in Chinese porcelain. Over the years, the couple amassed an extraordinary selection of extremely well-enameled pieces. They bought from some of the best dealers of their generation, and their purchases spanned 250 years of Chinese porcelain production. Condition: Very good condition with only minor wear and remarkably bright enamels, few microscopic frits and nibbles to the rims, expected manufacturing flaws including dark spots.Weight: 70.7 g and 62.1 g (the dishes), and 40.7 g and 40.0 g (the cups) Dimensions: Diameter 10.7 cm and 10.6 cm (the dishes), and 6.5 cm (each cup)Each set with a well carved and fitted wood presentation stand. (6)Literature comparison:Compare a closely related tea bowl and saucer with fishermen at the center, now in the Hodroff Collection, formerly in the Martin-Hurst and Mottahedeh Collections, is illustrated by D. Howard, The Choice of the Private Trader, London, 1994, p.175, no.198. For a related example painted with a fisherman at the center, see David Howard and John Ayers, China for the West, Vol. I, London and New York, 1978, p. 156, pl. 139.Auction result comparison:Type: Closely relatedAuction: Christie's London, 10 April 2002, lot 408Price: GBP 1,998 or approx. EUR 4,500 converted and adjusted for inflation at the time of writingDescription: A pair of fluted famille rose tea bowls and saucers, circa 1730-40Expert remark: Compare the closely related form and decoration.雍正末期至乾隆初期一對粉彩茶碗與碟子中國，約1730-1740年。碟子扇形邊緣，中央開光，描繪了一位坐在花樹下的石凳上的貴婦，兩隻飛舞的蝴蝶，卍 符紋。對應茶碗内也有相對的圖案。 來源：倫敦S. Marchant & Son藝廊，2005年；Richard 與 Maxine Markell購於上述藝廊。隨附2005年4月2日出具的原始發票複印本，售價 USD 3,500 或相當於 EUR 5,100 (根據通貨膨脹率)。一個盤子下有舊標籤 'Marchant 倫敦 Qianlong 1736-1795'。Richard 與 Maxine Markell私人收藏。Richard Markell (1932-2021年) 是脊椎按摩師 Maurice J. Markell 的兒子，他建立了專注於矯形鞋類和矯形器具的家族企業 Markell Shoes。Richard 和他的妻子 Maxine（1935-2019年）是亞洲藝術的忠實收藏家，尤其在中國瓷器方面。多年來，這對夫婦收藏了一系列精美絕倫的陶瓷。他們從那時最好的經銷商那裡購買，跨越了 250 年的中國瓷器生產，最早的藏品可追溯至清初，大致反映了康雍乾隆三個時期粉彩硬彩的發展和西方對它們的欣賞。 品相：狀況極好，只有輕微磨損，邊緣上有輕微琺瑯磨損和磕損，製造缺陷如黑點。 重量：碟子分別爲70.7 克 與 62.1 克，茶碗分別爲40.7克與40.0 克 尺寸：直徑分別爲 10.7 厘米 與10.6 厘米 (碟子)，茶碗直徑分別爲 6.5 厘米 木底座。(6) 文獻比較： 比較一件非常相近的漁夫茶碗和醬碟，現收藏於Hodroff Collection，曾藏於Martin-Hurst and Mottahedeh Collections，見D. Howard，《The Choice of the Private Trader》，倫敦，1994，頁175，編號198。一件相近的例子，中間一樣畫有漁夫，見 David Howard和John Ayers，《China for the West》，卷I，倫敦和紐約，1978年，頁156，圖139。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2002年4月10日，lot 408 價格：GBP 1,998（相當於今日EUR 4,500） 描述：約1730-40年一對粉彩茶碗與醬碟 專家評論：比較非常相近的外形和裝飾。
A FAMILLE ROSE PORCELAIN 'LINGZHI' RUYI SCEPTER, MID-QING DYNASTYChina, 1770-1850. The biscuit handle finely modeled as a gnarled branch with a twisting vine bearing leaves, blossoms, and peaches, the ruyi head in the form of a large lingzhi fungus, the head and lower end of the handle each with a gilt-decorated bat.Provenance: From the collection of a gentleman in London, United Kingdom, who has been collecting Asian works of art for the last 50 years, and thence by descent. Condition: Good condition with expected old wear and some firing irregularities, few tiny losses, little rubbing to gilt and enamels.Weight: 452 g Dimensions: Length 32 cmWith a fine silk tassel dating from the same period. (2)The ruyi scepter, meaning 'as you wish', expresses the desire that someone's wishes come true. As such, it was considered a most suitable gift for an honored friend or high ranking official, particularly on the occasion of a birthday.Ruyi scepters were made in the widest range of materials, from jade and hardwoods to gilt bronze, semi-precious stones and organic materials such as lacquer, ivory, and bamboo. It is particularly rare, however, to find a ruyi scepter made of porcelain, perhaps due to its natural fragility making it a less suitable material for such a long, slender shape.Auction result comparison: Type: Related Auction: Christie's New York, 24 March 2011, lot 1610 Price: USD 18,750 or approx. EUR 23,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose ruyi scepter, 19th centuryExpert remark: Compare the related form, modeling, famille rose enamels, and size (30 cm).清代中期粉彩靈芝福壽如意杖中國，1770-1850年。陶瓷堆塑成多節桃枝，藤蔓纏繞，鮮艷玲瓏的壽桃和桃花，如意頭是一株大靈芝，描金蝙蝠飛舞期間。 來源：英國倫敦紳士收藏，其亞洲收藏至少超過五十年歷史，保存至今。 品相：狀況良好，有磨損和一些燒製不規則，輕微小缺損，描金和琺瑯有輕微摩擦。 重量：452 克 尺寸：長 32 厘米 來自同期的細絲流蘇。 (2) 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2011年3月24日，lot 1610 價格：USD 18,750（相當於今日EUR 23,500） 描述：十九世紀粉彩如意杖 專家評論：比較相近的外形、堆塑、粉彩和尺寸(30 厘米)。
GANDHARAN HEAD OF BUDDHA GANDHARA, 4TH - 5TH CENTURY A.D. dark grey stucco, Buddha is depicted with a serene countenance, his almond-shaped eyes half closed and mouth set with a gentle smile, the hair rises in waves to form a bun-shaped ushnisha, the earlobes characteristically elongatedDimensions:19.8cm high excl. standProvenance:Provenance:With Spink & Son Ltd. from at least July 1989Private Japanese Collection, kept in Switzerland, acquired from the above on 27th July 1989With David Aaron Ltd., London, since 23rd December 2010. Imported from Switzerland to London in February 2011Private Collection of Mr. L., acquired from the above on 30th August 2017 (D2083)Note: Note: For a similar example please see Victoria and Albert Museum, London, accession number IM.3-1931 The substitution of stucco and terracotta for the traditional grey schist of earlier Gandharan sculptures allowed for greater artistic innovation and creative freedom. The use of these raw materials allowed for sculptures to be moulded and sculpted while still malleable, rather than requiring intensive chiselling from hard stone, drastically reducing production times. This masterfully crafted sculpture, depicting the Buddha as a young man and originally part of a large-scale figure carved in high-relief, exhibits a wonderfully evocative image. Excavations at various archaeological sites throughout Gandhara have uncovered examples of moulds for similar Buddha heads, suggesting that they were created at the monasteries where they were installed. The Gandhara kingdom, located in the Peshawar Valley and the Potohar Plateau, was a deeply Buddhist province with strong ties to the teachings of the Buddha since his death in 480 B.C. This ancient province was a melting pot of Greco-Roman, Chinese, Indian, and Central Asian influences, resulting in the evolution of a diverse yet idiosyncratic form of Buddhist art. The Kushan Empire, which ruled Gandhara from 30-375 AD., was skilled at assimilating cultures, ruling trade routes, and maintaining close diplomatic ties with the Roman, Chinese, and Sasanian Empires. This sculpture, along with other opus of Kushan Buddhist art from the area, can be dated to between the 4th and 5th centuries A.D. and depicts a fusion of Hellenistic motifs with Orientalist traditions, resulting in a new form of Buddhist iconography where western stylistic signatures such as curled hair and heavy drapery begin to appear prevalent on eastern-like forms.
We are pleased to announce an exclusive auction for a pair of exquisite Asian style 22K yellow gold earrings. Crafted with exceptional artistry, these earrings showcase the elegance and richness of traditional Asian design. Material: 22K Yellow Gold Weight: 6.8 grams The earrings feature a stunning blend of intricate details and delicate motifs, creating a mesmerizing visual appeal. The craftsmanship of these earrings reflects the mastery of skilled artisans, making them a true work of art. With their lustrous 22K yellow gold composition, these earrings exude a radiant glow that enhances any outfit. They are perfect for special occasions or for adding a touch of sophistication to your everyday style. This auction presents a unique opportunity to own a timeless piece of jewelry that combines the beauty of Asian aesthetics with the purity of 22K gold. (No VAT - Margin Scheme)
A Chinese Porcelain Baluster Vase, transitional period, painted in underglaze blue with birds and flowers (a/f), 16cm high; together with a similar Kangxi readed wine pot, 9.5cm, a pair of southeast Asian dishes and other Asian art Wine Pot - cover with two very large losses. Numerous large glaze losses to the main body and a firing crack also. Baluster Vase - has been cut down and with large hairline cracks. Bowl - numerous hairline cracks and chips. Further wine pot with numerous chips and loss to the spout. Two Large Dishes - one with a thumbnail size chip to the rim and a hairline crack emanating form said chip.
A Collection of Chinese Porcelain and Other Asian Art, including a pair of 19th-century yellow ground vases, a similar prunus blossom vase and cover, a cup and saucer painted with birds over a ground of waves, Qianlong reign mark (not of the period) modern boxed Celedon wine pot and four bowlsAll items with some condition issues noted. Generally poor.
A PAIR OF MEISSEN LARGE NODDING 'PAGODA' FIGURES, LATER 19TH CENTURY modelled as a couple of grinning Chinoiserie figures seated cross-legged in lilac lined and gilt-edged floral robes, wearing lemon yellow shoes, the male figure with his robe hanging off his shoulders and belly exposed, the female figure slightly more modestly draped, with articulated tongues, heads and hands, blue crossed swords marks, 31cm highFor another large Meissen pagoda figure sold in these rooms see the European & Asian Works of Art Auction, 21 November 2018, lot 396Provenance: Rev. and Mrs David McCready; thence by family descent to the vendor. David Frederick McCready (1874-1963) was born in Dublin. He married Hilda Mary Jessop Weiss on 3rd February 1909 and was ordained at Worcester in 1910. Attached to the staff of the Chaplain-General during the war, he became British Chaplain in Geneva from 1920, in the hope of clean Swiss air helping with his young son's chronic asthma, and Rural Dean of Switzerland from 1930. His wife, Hilda Mary Jessop Weiss, daughter of John Weiss of Birmingham, was a descendant through her mother of Thomas Jessop (1804-1887), proprietor of the Sheffield steelworks, William Jessop & Son; it is understood in the family that this pair of figures came to the McCready's through the Jessop connection.
A CHINESE CLOISONNE ENAMEL ‘DOUBLE CHILONG’ CIRCULAR BOX AND COVERMID-MING DYNASTYThe slightly convex top of the cover brightly enamelled with a pair of writhing chilong, one yellow with black dots, the other purple and black, set on a turquoise ground decorated in red, white, purple, yellow and black with flaming clouds, pearls, double-gourds, crossed horns and other auspicious motifs. The sides with small flower heads and leaves, the base undecorated, 468g, 12.2cm wide, 4.8cm high. (2)Provenance: from the collection of Adolphe Stoclet, 1871-1949.Published: Georges A Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection (part I), Brussels, 1956, pp.434-435.Cf. B Quette, Cloisonné, Chinese Enamels from the Yuan, Ming and Qing Dynasties, p.34 for two earlier double dragon boxes and covers, one in cloisonné enamel dated to the Yuan or early Ming dynasty from Les Arts Décoratifs, Musée des Arts Décoratifs, Paris, 23.634. cat.9, the other in carved lacquer dated to the Southern Song dynasty from the Asian Art Museum, San Francisco, B77M12. See also Bonhams, London, 8th November 2012, lot 233 for a related cloisonné enamel double chilong box and cover.明中期 銅胎掐絲琺瑯螭龍紋蓋盒來源：Adolphe Stoclet (斯托克萊1871-1949）收藏。出版：Georges A Salles and Daisy Lion-Goldschmidt, Adolphe Stoclet Collection (part I), Brussels, 1956年, 頁 434-435。
Books and cataloguesJapanese, Chinese and Asian relatedincluding:- Impey, Oliver- Japanese Export Porcelain, Barry Davies Oriental Art- Ko-Imari Porcelain from the collection of Oliver Impey, The Frederick M Mayer Collection of Chinese Art catalogue, Christie's, June 24th and 25th 1974 and various auction catalogues.Provenance: - From the estate of Dr. Oliver and Dr. Jane ImpeyAt present, there is no condition report for this lot. This in no way indicates a good condition. Please contact the saleroom for a full condition report.
A female toddy-maker South India, Malabar Coast, circa 1837-40watercolour on European paper 125 x 192 mm.Footnotes:ProvenanceFrom the Crening Album (formed 1842).With Eyre & Hobhouse, London SW1, circa 1970s-80s (label on backboard).Private UK collection until 2003.Bonhams, Islamic and Indian Art, 16th October 2003, lot 46.Private UK collection.For a discussion of this relatively unusual Malabar type, with its distinctive palette, and mostly depicting tradespeople, see M. Archer, Company Drawings in the India Office Library, London 1972, pp. 55-58; ibid., Company Paintings: Indian Paintings of the British Period, London 1992, pp. 66-69; J. P. Losty, Indian Life and People in the 19th Century: Company Paintings in the Tapi Collection, New Delhi 2019, pp. 182-184.For a painting depicting what appears to be the very same woman (in both instances wearing Saiva marks on her forehead, this time preparing coir - string from coconut fibres - with her husband, and also from the Crening Album, and subsequently with Hartnoll & Eyre, London, in the 1960s), see Francesca Galloway, Indian Miniatures from the James Ivory Collection, London 2010, pp. 178-179, no. 87. For another Malabar painting from the album, depicting two hunters, see Christie's, Important Islamic, Indian, Himalayan and Southeast Asian Art, 24th April 1990, lot 109.The gallery label gives a date of circa 1837, presumably based on the watermarks on other paintings in the original album, put together by a certain Stephen Crening in 1842 (BL Add. Or. 5728-5775; see Losty, op. cit., p. 182).For further information on this lot please visit Bonhams.com
Original vintage art event poster for an Exhibition of Islamic Miniatures, Textiles, and Small Art at the Austrian Museum for Art and Industry from 27 April to 20 May 1935 organised with the Cultural Association and the Society of Friends of Asian Art / Ausstellung Islamischer Miniaturen Textilien und Kleinkunst Osterreichisches Museum fur Kunst und Industrie Veranstaltet gemeinstam mit dem Kulturbund und der Gesellscahft der Freunde Asiatischer Kunst featuring a stunning stylised text only design with the artistic typography designed by the Austrian typographer and painter Otto Hurm (1898-1983) set against a black background. Good condition, folds, creasing, pinholes, repaired tears. Country of issue: Austria, designer: Otto Hurm, size (cm): 95x63, year of printing: 1935.
A LARGE AND RARE CELADON JADE FOOD VESSEL, GUI, QING DYNASTYChina, Qing Dynasty (1644-1912). Masterfully crafted to resemble a Western Zhou Dynasty bronze vessel, demonstrating superior levels of craftsmanship quality achieved through meticulous manual carving and chiseling techniques, with no modern tool marks. Of compressed globular form, rising from a ring foot, the shoulders set with a pair of curved loop handles, the domed cover surmounted by a stepped finial. The exterior carved in relief with concentric ridges and fine archaistic scroll motifs. The semi-translucent stone of a deep celadon tone with extensive opaque brown surface alterations.Condition: Very good condition with minor wear, few natural fissures and minuscule nibbling here and there. The rims with very few small nicks. Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent. Acquired in the Hong Kong antiques market in the early 1990s.Weight: 1595 g Dimensions: Height 15 cm, diameter 27 cm (handle to handle)Auction result comparison: Compare to two models of jade censers, gui, also carved to resemble archaistic bronze vessels at Bonhams Hong Kong, Fine Chinese Ceramics and Works of Art on 30 May 2017, lot 105, sold for HKD 375,000, and Sotheby´s New York, The Hundred Antiques: Fine & Decorative Asian Art on 22 June 2021, lot 85, sold for 35,280 USD.
A PARCEL-GILT-BRONZE SEAL PASTE BOX AND COVERHu Wenming seal mark, 17th centuryThe circular box with an incurving inner rim supporting the domed cover cast and gilt with blossoming prunus, the sides similarly decorated, all reserved on a diaper-pattern ground, the recessed base with a gilt four-character mark Hu Wenming zhi cast within, box. 7.1cm (2 3/4in) diam. (3).Footnotes:十七世紀 銅局部鎏金花卉紋印泥盒帶蓋「胡文明製」篆書款See a related bronze incense box and cover, Hu Wenming mark, late Ming dynasty, illustrated by M.Maucuer, Bronzes de la Chine impériale des Song aux Qing, Paris, 2013, no.80. See also another example, illustrated by B.S.McElney, The Museum of East Asian Art Inaugural Exhibition: Volume 2, Chinese Metalwares and Decorative Arts, Bath, 1993, no.289.Compare with a related parcel-gilt bronze incense box and cover, Hu Wenming mark, 17th century, which was sold at Bonhams London, 17 May 2018, lot 210.For further information on this lot please visit Bonhams.com
A VERY LARGE ARCHAIC JADE AXE BLADE, DAONeolithic PeriodThe long blade skilfully rendered with a crisp thinness, of trapezoid shape, the cutting edge very gently curved and marked with a subtle bevelled edge, the blade drilled with three apertures along the upper edge with a larger one toward one end and lower down, the stone of pale green tone with russet and milk-white veins, fitted box. 38.5cm (15in) long. (2).Footnotes:新石器時代 玉刀Provenance: Charles Vignier (1863-1934) Baron Klaus-Detlof von Oertzen (1894-1991) and Baroness Irene von Oertzen (1908-2007) Roger Keverne Ltd., LondonA British private collection, acquired from the above on 21 May 2009Published, Illustrated and Exhibited: S.Howard Hansford, Jade - Essence of Hills and Streams, Johannesburg, 1969, no.A34, p.42來源：Charles Vignier（1863-1934）舊藏Klaus-Detlof von Oertzen男爵（1894-1991）和 Irene von Oertzen （1908-2007）女爵舊藏 倫敦古董商 Roger Keverne Ltd.英国私人收藏，2009年5月21日從以上處購得展覽著錄： S.Howard Hansford, 《Jade - Essence of Hills and Streams》, 約翰內斯堡, 1969年, 編號A34, 第42頁Charles Vignier (1863-1934) was a Swiss-born poet, writer, collector, and dealer in antiquities. He was the expert on Asian art at the Hôtel Drouot, Paris, and was a key figure in introducing early Chinese art and, later, African art to avant-garde collectors in Paris, including Henri Matisse and Roger Fry. Compare with a related jade blade, Xia dynasty, illustrated in the Compendium of Collections in the Palace Museum, Beijing, 2011, pp.24-25, no.3. See also a Longshan jade blade with a slightly curved cutting edge illustrated in The Complete Collection of Jades Unearthed in China, vol.14, Shaanxi, 2007, pl.8; and a blade attributed to the Shenmu Culture in the collection of the Harvard Art Museums, illustrated by J.F.So, Early Chinese Jades in the Harvard Art Museums, New Haven, 2019, no.6B.For further information on this lot please visit Bonhams.com
AN IMPERIAL THANGKA OF SAMANTABHADRAChina, QianlongDistemper on cloth.Framed and glazed. 117cm (46in) high x 74cm (29 1/8in) wide; including the frame 180cm (71in) high x 115cm (45 2/8in) wide. Footnotes:清乾隆 御製普賢菩薩唐卡 Provenance: an Italian private collection來源: 意大利私人收藏The main deity occupying the central position, seated atop an elephant over an elaborate lotus throne, flanked by two masters of the Gelug tradition, identified by the inscriptions as Butui Sheng Zhanglao 不退聖長老 and Anyin Sheng Zhanglao 暗隱聖長老. The present thangka was likely painted in the Imperial Workshops of Beijing for the decoration of the Xumi Fushou Temple in Chengde, which was built outside the capital under the auspices of the Qianlong emperor and Changkya Rolpai Dorje, his Buddhist preceptor. Xumi Fushou Temple was built as a replica of the Tashilhunpo Monastery, for the sixth Panchen Lama's visit to China to celebrate the Qianlong emperor's seventieth birthday (1780). Like his grandfather before him, the Kangxi emperor, Qianlong recognised that the arrival of the revered Panchen Lama to Chengde demonstrated enormous political and religious power in the eyes of the Mongol khans, who were devout Tibetan Buddhists, and who would also be in attendance at the emperor's birthday celebrations. As an outstanding gesture of good will and a grandiose display of his power, the emperor aimed at replicating the Tashilhunpo Monastery, seat of the Panchen Lama in Tibet, in the summer retreat of Chengde, close to the Mongolian borders. The resulting temple was filled with countless paintings, sculptures, and other ritual objects which were made in a style that flourished during the 18th century as a result of the cultural interchange between China, Mongolia and Tibet. The intricate textile designs, the exquisite gold work throughout, the jewelled mandorla, the pastel palette and vaporous ruyi clouds, noted on the present lot, are all features associated with the paintings produced for the Ximu Fushou Tample. See, for example, a thangka of Ratnasambhava, 18th century, from the Xumi Fushou Temple, in the Asian Art Museum of San Francisco, acc.no.B83D6, and a thangka of Sitatapatra, 18th century, in the Museum of Asian Art, Philadelphia, acc.no.1959-156-4.The style and format of the present lot also closely compare with a thangka of Ksitigarbha, 18th century, also attributed to the Xumi Fushou sets, formerly in the collection of the Metropolitan Museum of Art, which was sold at Christie's New York, 12 September 2018, lot 230. Here, close similarities can be noted in the princely appearance of the central figure, backed by multi-coloured rays, seated atop a white animal on a lotus throne elaborately decorated with golden designs on a royal blue ground; note also the similar way of rendering the green cliffs and ornamented trees flowing into the body of water, and the cluster of jewels laid before the central figure, which reflect a Tibetan influence.Samantabhadra is a Bodhisattva associated with practice and meditation. Together with Shakyamuni Buddha and the Bodhisattva Manjusri, he forms the Shakyamuni Triad in Mahayana Buddhism. According to the 'Avatamsaka Sutra', the deity made the ten great vows which are the basis of a Bodhisattva. In Chinese Buddhism, Samantabhadra is known as Puxian. He is frequently seated atop an elephant; he is associated with action and can hold a variety of different attributes such as a vajra sceptre, book, parasol, vase, jewels and others.Compare with a further thangka of Cittavisramana Avalokitesvara, 18th century, painted in the Forbidden City by monk painters, illustrated by T.T.Bartholomew, 'Thangkas of the Qianlong Period', in J.Casey Singer and P.Denwood, Tibetan Art: Towards a Definition of Style, London, 1997, p.116, pl.99.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A PALE GREEN AND RUSSET JADE CARVING OF A MYTHICAL BEASTMing DynastyFinely carved in the round in crouching position with a raised head supporting a single horn, its head turned to the right, the face with an animated expression, with detailed hairwork to the bushy tail and mane, the stone pale celadon tone with beige and russet markings. 7cm (2 3/4in) long.Footnotes:明 玉瑞獸Provenance: Spink & Son Ltd., LondonJoseph (1938-2005) and Bella (1941-2011) Shapiro, acquired from the above on 7 August 1987, and thence by descent 來源：倫敦古董商Spink & Son Ltd.Joseph Shapiro (1938-2005)和 Bella Shapiro (1941-2011)在1987年8月7日從上處購得，並由後人保存迄今Compare with a related pale green and russet jade carving of a mythical beast, 17th century, in the Museum of Asian Art, Bath, illustrated by A.Forsyth and B.McElney Jades from China, Bath, 1994, no.231, p.318. See also a related pale green jade figure of a mythical beast, Ming dynasty, in the Asian Art Museum, San Francisco, illustrated by R.Y.Lefebvre d'Argencé, Chinese Jades in the Avery Brundage Collection, San Francisco, 1977, pl.33, pp.80-81.For further information on this lot please visit Bonhams.com
A PALE GREEN AND RUSSET JADE CARVING OF A BUDDHIST LION AND CUBMing DynastySmoothly carved as a large Buddhist lion with bushy brows and ruyi-shaped snout turning back to gaze at its cub clambering up the larger's rear with bifurcated tail, the paws tucked underneath, the stone of grey-green colour with light russet inclusions, box. 8.5cm (3 2/8in) long. (2).Footnotes:明 太師少師玉把件Provenance: Dr Isaac Newton (d. circa 1982), Livingston, ScotlandBluett & Sons Ltd., LondonSotheby's Hong Kong, 18 May 1989, lot 857Joseph (1938-2005) and Bella (1941-2011) Shapiro, and thence by descent Published and Illustrated: Bluett & Sons Ltd., Dr Newton's Zoo: A Study of post-Archaic Small Jade Carvings, London, 1981, no.23.來源：Isaac Newton博士 (約1982年去世)，利文斯頓，蘇格蘭倫敦古董商 Bluett & Sons Ltd.蘇富比香港，1989年5月18日，拍品編號857Joseph Shapiro (1938-2005)和 Bella Shapiro (1941-2011)舊藏，並由後人保存迄今著錄：Bluett & Sons Ltd.， 《Dr Newton's Zoo: A Study of post-Archaic Small Jade Carvings》， 倫敦， 1981年， 編號23The theme of Buddhist lions appears to have surged in popularity since the Ming dynasty. The depiction of a Buddhist lion and a young cub forms the pun Taishi Shaoshi, which translates as 'May you and your descendant achieve high rank'. See a related example of a pale green jade beast, Ming dynasty, illustrated in Later Chinese Jades Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, p.78, no.54. A similar white jade 'Buddhist lion and cub' carving, 17th century, which was sold at Christie's Hong Kong, 29 November 2017, lot 3062.For further information on this lot please visit Bonhams.com
A RARE BRONZE PERFUME FLASK AND COVERSui/Tang DynastyOf ovoid shape rising from a short tapered foot to a long waisted neck and flaring mouth rim, the domed cover surmounted by a lotus-bud finial, with mottled green and brown patina. 15cm (5 3/4in) high. (2).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價隋/唐 銅長頸瓶Provenance: James Marshall Plumer (1899-1960), Michigan. 來源：James Marshal Plumer (1899-1960) 舊藏, 密歇根Exhibited: The Detroit Institute of Arts, 6 March- 8 April, 1962 (by repute)James Marshall Plumer (1899-1960) was a noted professor and expert on Asian art. Plumer undertook extensive studies abroad, visiting ancient temples and monuments in China, becoming fluent in Chinese, and working as an administrative officer with the Chinese government's Maritime Customs. He was a member of the American Oriental Society, the Royal Asiatic Society, the Chinese Art Society of America, the Japan Society, the Association for Asian Studies, and the Archaeological Society of America. After Plumer passed away, the Detroit Institute of Arts presented a memorial exhibition that featured his collection.For a related bottle vase, Tang dynasty, see also Bronze Articles for Daily Use: The Complete Collection of Treasures of the Palace Museum, Beijing, 2006, no.156. Another related bronze, Sui/Tang dynasty, is illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no.330.Compare also with a similar bronze bottle vase, Tang dynasty, which was sold at Bonhams London, 11 May 2021, lot 64.For further information on this lot please visit Bonhams.com
TAI XIANGZHOU (b.1968)Cosmos Worlds 1 and 2, 2014Two paintings, ink on paper, each framed. 45cm high x 75cm wide (17 3/4in high x 29 1/2in wide). (2).Footnotes:泰祥洲(1968年生) 天象世界1和2 水墨紙本 鏡框 2014年作Born in 1968 to a scholarly family in the provincial capital of Yinchuan, Ningxia, in north-central China, Tai began his training in Chinese calligraphy at the young age of four. After studying interactive design in Auckland, New Zealand, he led successful careers in digital media and conservation, founding the cultural magazine 'Chinese Heritage'. In 2003, his encounter with the painter Liu Dan pushed him to further explore the techniques of traditional Song and Yuan dynasty paintings. By 2006, Tai had devoted himself to ink painting and had begun to investigate Chinese landscape paintings from the perspective of astrology. Under the mentorship of philosopher Bao Lin, he completed his PhD from Tsinghua University in 2012 with a dissertation entitled 'Phenomena of the Universe-The Concepts and Structure of Chinese Landscape Paintings.' This work was highly admired by renowned art historian Fang Wen, who recommended the book in the preface and recommended for publishing by the Zhonghua Book Company. Attending to the nature of the materials of painting, Tai has researched traditional papermaking techniques and now paints exclusively on paper and silk produced by tenth-century methods. He also only uses ink from the Qianlong era (1736-1795), which is considered to be one of the highest-quality inks. In addition to painting, Tai in 2010 created an interactive and multimedia installation based on classical Chinese cosmology, 'The Gateway of Expedient Means', modelled on medieval revolving repositories of Buddhist sutras and constructed in wood using traditional mortise-and-tenon joinery. He currently lives and works in Beijing. Tai Xiangzhou's works are in the Art Institute of Chicago; the Arthur M.Sackler Museum, Harvard University; the Asian Art Museum of San Francisco; the Brooklyn Museum; Princeton University Art Museum; and Yale University Art Gallery.For related paintings by Tai Xiangzhou, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.44-45.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
CHUN-YI LEE (b.1965)Unyielding Mountains, 2009Ink on paper, framed. 66.3cm high x 78.5cm wide (26 1/8in high x 30 7/8in wide).Footnotes:李君毅（1965年生）不屈的山 水墨紙本 鏡框 2009年作Born in Taiwan in 1965, Chun-Yi Lee moved to Hong Kong in 1970 and graduated from the Chinese University of Hong Kong, where he was deeply influenced by his teacher Liu Kuo-sung. Lee obtained his MFA from the Graduate Program of Fine Arts of Tunghai University in Taiwan. Inspired by the ancient technique of Chinese ink-rubbing, at a distance his landscapes appear to be timeless archetypal landscapes reminiscent of traditional Chinese paintings that symbolise harmony with the cosmos. Upon closer inspection, however, one realises that the landscape is not created by brushstrokes but a stunningly meticulous grid-like structure. Eschewing the brush, Lee Chun-yi creates monumental yet intricately pixelated ink paintings produced by repeatedly imprinting small cubic stamps made of soft wood or cork. Lee's process is inspired by engraved stone steles from the Northern Wei period and the seals affixed to Chinese paintings or carved woodblocks used in traditional printmaking. This creates apparently ordinary yet deconstructed landscapes. Literally building up a visual composition through words, his paintings function as symbolic poems, with the strength of the stamp indicating the intended tone of expression.As a native of Taiwan and student in Hong Kong following the years of cultural unrest in mainland China, Lee positions his works between history and the current situation between the straits. The present lot is stamped with both the Communist hammer and sickle, as well as the Republican sun used in the Taiwanese flag. By depicting the landscape as a fragmented whole, Lee illustrates an interpretation of nationalism. While the landscape acts as a symbol of history and cultural identity, Lee breaks down the whole into a fragmented puzzle and a state of confusion. Lee's art, masterfully executed and thoughtfully conceived, is thus both nostalgic and revolutionary, forging an entirely unique and contemporary visual language even while evoking the past. Lee has participated in over 30 group and solo exhibitions internationally. His works have been collected by the Ashmolean Museum, Oxford; the Arthur M. Sackler Museum, Harvard University; the Asian Art Museum, San Francisco; the Phoenix Art Museum, USA; the Jiangsu Art Museum; the Qingdao Art Museum, China; the National Arts Education Institute, Taipei; the Hong Kong Museum of Art, and other public and private collections.Compare with a related painting by Chun-Yi Lee, which was sold at Sotheby's Hong Kong, 5 October 2015, lot 2835.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
LIU KUO-SUNG (b.1932)Autumn Landscape, 1965Ink on paper, signature and seal of the artist, framed. 92.3cm long x 59.8cm wide (36 1/3in long x 23 1/2in wide).Footnotes:劉國松（1932年生） 秋景 水墨紙本 鏡框 1965年作Born in Bangbu, Anhui Province, in 1932, Liu Kuo-sung (also Liu Guosong) is sometimes known as the 'Father of Modern Chinese Ink Painting'. He is recognised as one of the earliest and most important advocates and practitioners of modernist Chinese art. He moved to Taiwan in 1949. In 1956, Liu graduated from the Fine Arts Department of the National Taiwan Normal University, where he studied both traditional brush-and-ink and Western-style painting techniques. As one of the co-founders of Taiwan's Fifth Moon Painting Society (Wuyue huahui 五月畫會) in 1957, Liu Kuo-sung sought a new approach to art, which was inspired by both traditional Chinese painting especially the style of the late Tang period (618-907) and the monumental landscape painting style of the 10th to 11th centuries - as well as modern styles and techniques, such as abstract expressionism. Before turning to ink painting in 1961, Liu experimented with abstract oils. By the mid-1960s, Liu had gradually developed his own personal pictorial formulae, in which he combines ink painting with collage and applies ink and colour on special paper. The present lot is an example of his fusion of landscape and abstraction and represents the mature style that has earned him a place in many prestigious international exhibitions. His works have been collected by almost seventy prestigious museums and galleries, including the Palace Museum in Beijing, the British Museum in London and the Asian Art Museum of San Francisco; the Chicago Art Institute; Cleveland Museum of Art, The Nelson Gallery of Art and Catkins Museum; Hong Kong Museum of Art; The City Art Gallery, Bristol; and the National Gallery of Art and Museum of History, Taipei. See Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.196. See also a related painting by Liu Kuo-sung, 1964, illustrated by Chu-tsing Li, Liu Kuo-Sung: The Growth of a Modern Chinese Artist, Taipei, 1969, p.35.Compare also with a similar painting by Liu Kuo-sung, 'Windswept', which was sold at Christie's Hong Kong, 28 May 2018, lot 867.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A VERY RARE BRONZE 'ZHANG QIAN AND BOAT' HANGING INCENSE VESSELMing DynastyThe vessel expertly cast as a boat in the form of a large lotus petal, with a mythical-beast head at the front, a Daoist Immortal with jovial expression seated at the stern, wearing a lotus-leaf hat and holding an open book, his right hand holding the rudder, the deck with leafy-tendril openwork, the exterior of the boat decorated with a band of openwork C-scrolls, with three raised suspension lugs attached to three chains hung from a loop ring. 25.5cm (10in) long.Footnotes:明 仙人乘槎掛式銅吊爐Published, Illustrated and Exhibited: Michael Goedhuis, Chinese and Japanese Bronzes A.D.1100-1900, London, 1989, no.24. 展覽著錄：Michael Goedhuis著，《Chinese and Japanese Bronzes A.D.1100-1900》，倫敦，1989年，編號24The present lot is very rare. Although it is an incense burner or perfumer, the shape may possibly have been inspired by Central Asian and Persian kashkul, or so called 'beggar's bowls'. The kashkul was a sign of religious poverty assumed by Sufis and Islamic mystics, and was worn around the neck with a chain. The bowl's boat-like shape became symbolic of the dervish's journey on the ocean of mystic knowledge. See for example, a kashkul, ca.1500, Iran or Afghanistan, of similar boat-shape and with chain, in the Victoria and Albert Museum, London (acc.no.755-1889).The present lot, although not Islamic, shares the Sufi's concern with mysticism and the journey for knowledge, except now there is a Daoist Immortal with a book riding the boat. Immortals riding a raft (Xianren chengcha 仙人乘槎) are frequently depicted in other materials such as bamboo or rhinoceros horn carvings. See for example, a rhinoceros horn cup with Immortal on a raft, late Ming/early Qing, illustrated in Bamboo, Wood, Ivory and Rhinoceros Horn Carvings in the Collection of the Palace Museum, Beijing, 2010, p.302. The earliest record of the tale of an 'Immortal Riding a Raft' was in the Record of Diverse Matters (博物志) written by Zhang Hua (c.290 CE). According to this book, every Eighth Month, boats commute between the sea and the Milky Way leading one to Immortality. Later, this myth became conflated with the historical figure of Zhang Qian (張騫) the Han dynasty explorer and envoy to Central Asia. See a silver cup depicting an Immortal on raft, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.10, Beijing, 1996, no.154. S.Lee, in Chinese Art under the Mongols: The Yuan Dynasty, Cleveland, 1968, entry 37, mentions that this could be a depiction of the Daoist deity Taiyi zhenren (太乙真人), travelling to the fairy islands of Penglai.For further information on this lot please visit Bonhams.com
QIU DESHU (b.1948)Self Portrait (Spirit), 1997Ink and acrylic on xuan paper and mounted on canvas, signed and dated 1997 in Chinese. 180cm high x 360cm wide (70 3/4in high x 141 1/2in wide) Footnotes:仇德樹(1948年生) 自畫像（靈魂） 水墨丙烯宣紙 裱於畫布 1997年作 Published, Illustrated and Exhibited: Louisiana Museum of Modern Art, China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006, Humlebaek, 2007, pp.232-233. Chinese Ink Painting Now, New York, 2010, p.82.Michael Goedhuis, Qiu Deshu, London, 2012, pp.40-41.Michael Goedhuis, Ink: The Art of China, Saatchi Gallery, London, 2012, pp.168-169. 展覽著錄：路易斯安納現代藝術博物館編, 《China Onward: the Estella Collection, Chinese Contemporary Art 1966-2006》，胡姆勒拜克，2007年，第232-233頁。《當代中國水墨畫》，紐約，2010年，第82頁。Michael Goedhuis編, 《仇德樹》，倫敦，2012年，第40-41頁。Michael Goedhuis編, 《Ink: The Art of China》, 薩奇美術館, 倫敦, 2012年, 第168-169頁. Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then sticking selected pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper on top of colours, produces additional effects: the final work is a sophisticated combination of painting and collage.The present lot, his self-portrait, is merged with a rocky landscape, not only reflecting the fissures and dramatic disruptions fragmenting his life, but also his unity with the ever-changing universe. As an expression of his place within this ongoing cosmos in flux, Qiu created his unique Self-Portrait (Spirit), a landscape in which facial features emerge from the mountain formations to suggest the presence of the artist's human spirit.Qiu Deshu's works are in numerous museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
WEI LIGANG (b.1964)Chinese Poem-Bronze Script, 2010Ink and acrylic on paper, signed at the lower left corner, framed. 180cm long x 96cm wide (70 3/4 long x 37 3/4in wide).Footnotes:魏立剛（1964年生） 中國詩-金文 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.4-5.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第4-5頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. Indeed, the present lot has a bird visible in one of the characters. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
YANG YANPING (b.1934)Autumn Song, 1996Ink and colour on xuan paper, framed. 66.7cm long x 133.4cm wide (26 1/4in long x 52 1/2in wide).Footnotes:楊燕屏（1934年生） 秋歌 紙本設色 鏡框 1996作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.199.Michael Goedhuis, The Ink Art of China, London, 2019, pp.20-21. 展覽著錄：《當代中國水墨畫》，紐約，2010年，第199頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第20-21頁Yang Yanping is famous for her paintings of Autumn and lotus; with impressive compositions of saturated reds, golds and ink on paper, her works strays close to pure abstraction. She studied architecture at Tsinghua University, where she married one of her painting teachers, Zeng Shanqing. After she graduated in 1958, and a brief spell of teaching factory design, Yang decided to study art at the Oil Painting Department of the Beijing Art Academy. At the same time she studied traditional Chinese painting on her own. In 1986, both Yang and her husband were awarded fellowships from the State University of New York at Stony Brook, and they have remained in America ever since.Yang is well versed in many traditional styles but has excelled in depicting the lotus flower, a symbol of purity, transience, the fragility of nature, and the potential for regeneration. Yang's ideals of high visual quality and an artistic autonomy allows her to embrace modernism without jettisoning the lessons from the classical Chinese world of high culture. Her recent exhibitions include a major retrospective at The Art Museum of Beijing Fine Art Academy in 2013. Yang Yanping's work can be found in many prestigious institutions globally, including the Art Institute of Chicago which has recently held a major exhibition of her work, see Expressive Ink: Paintings by Yang Yanping and Zeng Shanqing, Chicago, 2019; The Art Museum of Beijing Fine Art Academy, Beijing; The Ashmolean Museum, Oxford; The Albertina, Vienna; the Asian Art Museum, San Francisco; The British Museum, London; and the Museum of Fine Arts, Boston.For a related painting by Yang Yanping, 'Deep Autumn', 2004, see China Onward: The Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2007, pp.360-361.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
WEI LIGANG (b.1964)Zhu Ma Ting (Stop the Horse and Listen), 2010Ink and acrylic on paper, signed at the lower rightcorner, framed. 180cm high x 96cm wide (70 3/4in high x 37 3/4in wide)Footnotes:魏立剛(1964年生) 駐馬聽 水墨丙烯紙本 鏡框 2010年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2014, pp.26-27.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2014，第26-27頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC- 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the University Calligraphy Society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. From 1995, he increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. He employs the bright colours of gold, red, and blue, and uses acrylic paints to increase substance and texture. In these respects his art differs from traditional Chinese calligraphy, which typically is monochrome. Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
QIU DESHU (b.1948)Mountainscape (Red), 2005Ink, acrylic and xuan paper on canvas. 200cm high x 360cm wide (78 3/4 high x 141 3/4in wide).Footnotes:仇德樹 山景（紅） 水墨丙烯宣紙 裱於畫布 2005年作Qiu Deshu, born in Shanghai in 1948, was one of the earliest artists on the mainland to receive international recognition in the post Mao era. As a child he studied traditional ink painting and seal carving, but his interest in the traditional arts was interrupted by the Great Proletarian Cultural Revolution, during which he was sent to work at the Number Eighteen Shanghai Plastics Factory. At the close of that tumultuous period, he rededicated himself to art and co-founded the Grass Painting Society (Cao cao hua she 草草画社), one of the first experimental art groups in the late 70s. However, his interest in abstraction was deemed too 'bourgeois' and he was ordered to cease painting during the Anti-Spiritual Pollution Campaign of 1983. It was around this time that he developed his signature style of tearing paper, called 'fissuring' (liebian 裂变).'Fissuring', which in Chinese literally means tearing (裂) and change (变), indicates both the dramatic changes and breaks in his own life as well as that of a rapidly changing Chinese society. His creative process begins with painting vivid colours on traditional Chinese xuan paper, tearing it, and then adhering select pieces to a base layer using the techniques traditionally employed in mounting Chinese paintings. When spaces show between the mounted torn papers they read as fissures or cracks. Abrading or burnishing the paper, or mounting white paper atop colours, produces additional effects: the final work is a sophisticated combination of painting and collage. The present lot, combines the traditional notions of Chinese landscape painting, but combined with innovative 'fissuring' technique, reflecting a world in flux.Qiu Deshu's works are in many museum collections including the Museum of Fine Arts, Boston; M+ Museum, Hong Kong; Shanghai Art Museum, China; Asian Art Museum, South Korea; Taichung Provincial Art Museum, Taiwan; Linden Museum, Germany; Seoul Maili Art Museum, Korea; and Shenzhen Art Museum, China.Compare with a similar mountainscape in red, but mounted as a set of five panels, 2005, by Qiu Deshu, which was sold at Sotheby's Hong Kong, 3 April 2016, lot 515.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
WEI LIGANG (b.1964)Thatched Cottage Beside the Water Lined with Phoenix-Tail Fern Moistened in the Mist, 2016Ink and acrylic on paper, signed WEI LIGANG in pencil and dated 2016, two panels, framed. Each panel 180cm long x 96cm wide (70 3/4in long x 37 3/4in wide). (2).Footnotes:魏立剛(1964年生) 臨水草堂與霧靄鳳尾蕨 水墨丙烯紙本 鏡框 2006年作Published, Illustrated and Exhibited: Michael Goedhuis, Wei Ligang, London, 2018, pp.16-17.展覽著錄：Michael Goedhuis著，《魏立剛》，倫敦，2018年，第16-17頁Wei Ligang was born in Datong, the first capital of the Northern Wei Dynasty (386-534) and home to the famous Buddhist grottoes of Yungang, which instilled in him a fondness for the grandeur of Han (202 BC - 220 AD) and Tang dynasty (618-907) art. Wei's father was an art-loving railroad worker, who inspired in Wei an interest in both mechanics and calligraphy. When he was 17, Wei entered the mathematics department of Nankai University, where he honed his logical and analytical skills. Wei also became President of the university calligraphy society, where he came under the mentorship of the local masters Li Henian (1912-2000), Wang Xuezhong (1925-2013), and Sun Boxiang (1934-) in classical poetry and epigraphic scripts. Wang Xuezhong, an early pioneer of Modern Calligraphy, was especially influential to Wei.After graduating from Nankai University in 1985, Wei Ligang became a teacher in Taiyuan and immersed himself in the legacy of Fu Shan (1607-1684), a fellow Shanxi native. In 1995, he thereafter increasingly engaged with abstract painting and international contemporary art. Over the 90s, Wei gained prominence as a young pioneer of Modern Calligraphy, participating and organising a number of influential exhibitions in the field. Wei Ligang delights in abstraction and has pushed the boundaries of calligraphy further than most contemporary calligraphers. His wide-ranging inspirations include ancient Egyptian hieroglyphs, industrial civilisation and modern machines, European castles and palaces, contemporary physics and astronomy, and the structures of animals and plants. In the present lot, elegant black lines peregrinate fluidly on a brilliant gold foreground, displaying the impulsive gestures of abstract expression and at the same time preserving the archaic grid system of Chinese writing in a pictorial form. The bold application of colour, rarely used in traditional Chinese calligraphy, provides a stark contrast against the ink, representing the artist's unconventional style and take on the incorporation of new media.Wei Ligang's works are in the collections of the Asian Art Museum, San Francisco; British Museum; Cernuschi Museum, Paris; Bill and Melinda Gates Foundation, Seattle; National Museum of China, Beijing; National Art Museum of China, Beijing; François-Henri Pinault Family, France; San Francisco Museum of Modern Art; among others.Compare with a similar single panel by Wei Ligang, 2007, illustrated in Chinese Ink Painting Now, New York, 2010, p.125, which was later sold at Sotheby's Hong Kong, 3 April 2016, lot 563.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A Chinese 'longquan' guan-type celadon washer, xi, Southern Song Dynasty, 13th century, with pale translucent celadon glaze suffused with a network of fine crackles, burnt red foot, exhibition labels for Cape Town 1953, Radcliffe collection and BADA, 12.3cm diameterCompare with a dish of related type in the Museum of East Asian Art, Bath, p. 154, pl.108Provenance: Walter Burchard Collection purchased from him by Bluetts, March 8th, 1944Major Edward Copleston Radcliffe (1898-1967) collection and listed in the family archive, 'A13', as purchased from Bluett & Sons, in 1943, for £12-0s-0d, but listed in the Bluett archive as sold to Major Radcliffe September 20th, 1944, for £25.00Exhibited: National Gallery of South Africa, Chinese Exhibition, Cape Town, 1953, no. 77南宋 龙泉窑冰裂纹青釉折沿洗拍品来源：Edward Copleston Radcliffe (1898-1967) 少校私人收藏（家族编号A13），其在家族档案中记载为"1943年购自英国著名古董商Bluett & Sons"，然而在Bluett的档案中记载为"1944年3月8日购自Walter Burchard 收藏，并于同年9月20日以25英镑售于Radcliffe少校" 展览信息：南非国家画廊，中国艺术展览，开普敦，1953年，编号77号Condition Report: chip to unglazed foot and cracksguan type glaze not evenly spread over the entire surface Condition Report Disclaimer
An attractive bronze or copper gilt Tibetan Figure of Vajrapani, 14th or 15th century, stepping to his right on a prostrate figure, on lotus base, holding a vajra in his raised right hand and a ghanta in his left hand, wearing skull necklace and crown, with fierce expression and bared teeth, 12.5cm high, 369 grams Provenance: By repute the owner purchased from Kenny & Higgins Asian Art. 14至15世纪 西藏铜金刚手菩萨像(克重：369g)拍品来源：藏家购自英国古董商Kenny & Higgins Condition Report: top section of arch broken off and overall with dents and wear see additional images for visual reference to condition Condition Report Disclaimer
Iqbal (Muhammad, 1877-1938). South Asian Muslim writer, philosopher, scholar and politician. Six Lectures on the Reconstruction of Religious Thought in Islam, 1st edition, Lahore: Kapur Art Printing Works, 1930, errata slip tipped in after title, author's signed presentation inscription in brown ink to front free endpaper, 'Presented Mr Edward Thompson with the author's compliments, Muhammad Iqbal, Lahore, 6th March 1933', indistinct ink name stamp of Lahore bookseller at foot of page, original cloth gilt, slightly rubbed and soiled with some damp wrinkling, 8voQTY: (1)NOTE:An uncommon autograph by Iqbal who is widely regarded in Pakistan as the ideological founder of the state. The dedicatee was Edward John Thompson (1886-1946), British scholar, novelist, historian and translator. Remembered for his translations of Rabindranath Tagore he was also friends with leaders across the Indian political leadership, including Gandhi, Nehru and Iqbal. See also Nehru below.
A group reference books and catalogues on Chinese art and ChinaComprising: M. Sullivan, Chinese Art: Recent Discoveries, Thames and Hudson, London, 1973M/. Traegar, Chinese Art, Thames and Hudson, London, 1980M. Ridley, Treasures of China, The Dolpin Press, 1973W. Speiser, The Art of China, Holle & Co, Baden-Baden, 1980M. Loehr, The Great Painters of China, Phaidon, Oxford, 1980F. MacKenzie, Chinese Art, Paul Hamlyn, London, 1961Catalogue of an Exhibition on The Great Ceramic Art of China, Organised by the Arts Council of Great Britain and the Oriental Ceramics Society, The Victoria and Albert Museum, London, 9 June - 25 July 1971The Mount Trust Collection of Chinese Art, The Victoria and Albert Museum, London, 1970South-East Asian and Early Chinese Export Ceramics, William Sorsby Ltd., London, 1974H. l. Li, Chinese Flower Arrangement, HEdera House, Philadelphia, 1956S. Towler, Tales from the Tao, The Wisdom of the Taoist Masters, Duncan Baird Publishers, London, 2007A. C. Moule, and W. Perceval; Yetts, The rulers of China 221 B.C. - A.D. 1949, Routledge & Kegan Paul, London, 1957B. Page, Beijing Then and Now, Salamander Books, London, 2007Japanese Art & Textiles Including The Linda Wrigglesworth Collection, Christies, South Kensington, 6 November 2008Fine Chinese Ceramics and Works of Art, Sotheby's, London, 15 December 1987T. Chi & C. Jackson, The Story of China, Puffin Picture Books, Penguin Books, Middlesex and New York, 1945中國藝術品圖錄及書十六本
Twenty-two reference books and catalogues on Chinese jade and Buddhist artComprising: Masterworks of Chinese Jade in the National Palace Museum, National Palace Museum, Taipei, 1970J. Rawson, Chinese Jade from the Neolithic to the Qing, The British Museum Press, London, 1995A. Forsyth, B. McElney, Jades from China, The Museum of East Asian Art, Bath, 1994Neolithic Jades in the Collection of the National Palace Museum, The National Palace Museum, Taipei, 1992Dr. Newton's Zoo, A Study of Post-Archaic Jade Carvings, Bluett & Sons Ltd. London, 1981.Historical Relics Unearthed in New China, Foreign Language Press, Peking, 1972文化大革命期间出土文物, 第一辑, 编辑 工作组 展览 出土文物 出版 社 版 出 文物 中 发行 书 店 国际 国, 中国·北京 1972年2月 (Cultural Relics Unearthed During the Cultural Revolution, First Series, Edited by the Unearthed Cultural Relics Exhibition Working Group, Published by Cultural Relics and China International Bookstore, Beijing, 1972)J. P. Palmer, Jade, Spring Books, London, 1967O. Luzzatto-Bilitz, Antique Jade, Fratelli Fabbri Editori, Milan, 1966/ The Hamlyn Publishing Group Ltd, Feltham, 1969R. Lefebvre D'Argence, Avery Brundage Collection of Chinese Jades, The de Young Museum Society, and Patrons of Art and Music, and the Centre of Asian Art and Culture, Japan, 1972Exhibition of Post-Archaic Chinese Jades, 70th Anniversary, S. Marchant and Son, London, 1995The Gerald Godfrey Private Collection of Fine Chinese Jades, Christie's Hong Kong, 30 October 1995Light of Compassion, Buddhist Art from Nepal and Tibet, Spink & Son, London, 1997The Mirror of Mind, Art of Vajrayana Buddhism, Spink & Son, London, 1995Body, Speech and Mind, Buddhist Art from Tibet, Nepal, Mongolia and China, Spink & Son, London, 1998Important Chinese Ceramics and Works of Art, The collection of Mr. and Mrs. Eugene Bernat, Sotheby's New York, 7 November 1980J. Hay, Masterpieces of Chinese Art, Phaidon Press Ltd, London, 1974One Hundred of the Best, J.A.N. Fine Art, London, 2004The Kunstkammer, A Collectors Cabinet, Roger Keverne, Michal Gillingham, London, 1997Chinese Imperial Patronage, Treasures from Temples and Palaces, Christopher Bruckner Asian Art Gallery, LondonTibetan Art, Spink & Son, London, 1994 (brochure)Asian Art, Spink & Son, London 1993 (brochure) (22).玉器及佛教圖書二十二本
A collection of forty-five Asian art catalogues1970s- 1990sComprising: seventeen Sotheby's catalogues from 1970 to 1981, thirteen Philips catalogues from 1970 to 1990, one Bonhams catalogue from 1978, and fourteen postcard sets published by Chinese museums between 1970 to 1980.一九七零 - 一九九零 拍賣行及博物館亞洲藝術圖錄四十五冊
This grand 120 x 75.5cm portrait depicts the powerful and regal figure of Maharaja Sher Singh, who ruled the Sikh Empire in the mid-19th century. The neat details in this painting, from the delicate embroidery on the Maharaja's attire to the detailed patterns on the ornate throne, exposes the skilled hand of the artist who created this piece. The Maharaja himself is captured with a confident gaze, conveying his position of authority and strength. As a testament to its importance, this portrait has been exhibited in galleries and museums around the globe. Given its rarity and uniqueness, this would make for an astute investment for collectors of South Asian art, particularly those drawn to the history and culture of the Sikh Empire. The quality of the painting and the historical significance of the subject make it a worthwhile inclusion to any art portfolio of South Asian art.
LANCELOT RIBEIRO (INDIAN, 1933-2010)The City 1 signed and dated ‘Ribeiro ‘63’ (upper left) and titled (on the frame) oil on board 61 x 91.5cm Provenance Acquired directly from the artist at the Rawinsky Gallery, London, 1963 Exhibited London, Grosvenor Gallery, Asian Art WeekCondition ReportThe board is sound and the paint surface in good condition overall. No sign of retouching under ultraviolet.
JIZHOU RUSSET-SPLASHED BLACK-GLAZED TEABOWL SOUTHERN SONG DYNASTY 南宋 吉州窰黑釉灑褐斑盞 of conical form with gently inverted mouth, covered overall with a thick black glaze suffused with russet streaks in the interior, the exterior with finer russet streaks on the outer mouth, glaze thinning down and ends irregularly near the foot to expose a beige buff bodyDimensions:11.3cm diameterProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Jin Jin Lou Chinese Art Gallery, Hong Kong, on 19 September 2001. With an original receipt 'No.6' issued by the gallery, dated the piece to the Southern Song dynasty, 1127-1279.
SPINACH GREEN JADE WITH AGATE INSET OPIUM PIPE QING DYNASTY, 19TH CENTURY 清 碧玉鴉片煙管嵌瑪瑙煙嘴及銅鎏金飾 the cylindrical shaft in plain form with metal mount, inset both ends with agate mouthpiece, the stone of luscious rich green tone with variegated dark streaks Dimensions:49.5cm wideProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an in expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at this saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159Note: Note: To create a jade baton of this length requires a substantial jade boulder. The simplicity of the pipe showcases the attractive natural colour of the stone. Compare to a Chinese jade silver-mounted opium pipe, dated to the 20th century, sold at Christie's Amsterdam, 3-4 April 2012, lot 365.
LARGE BLUE AND WHITE 'MYTHICAL BEASTS' JAR MING DYNASTY, 16TH CENTURY 明 青花瑞獸紋大罐 sturdily potted on a gently concave base, rising to broad shoulders and inverted mouth, painted around the body with a continuous scene of four mythical beasts with slender billowing flames in flight amongst auspicious clouds above a band of undulating waves crashing onto three-pointed rocky hills, a ruyi lappet border decorated the shouldersDimensions:30.5cm diameter Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, on 8 August 1996. With an original receipt no. 561, dated this piece to Ming dynasty, mid-16th century.Note: Note: Compare to a similar but more liberated decoration of mythical beasts in flight amongst flames, clouds, and splashes of water, above crashing waves and rocky hills, painted on a blue and white bottle vase, dated to the Ming dynasty, possibly Wanli period, ca. 1573-1620, in the collection of the British Museum, museum no. Franks.747
FINE FAMILLE ROSE ‘MAGU’ CHARGER QING DYNASTY, YONGZHENG PERIOD 清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gildedDimensions:34.4cm diameterProvenance:Provenance: Formerly in a private American estate (by repute)Note: Note: Some plates of similar 'magu' theme were commissioned by Augustus II (1670-1733), King of Poland and Elector of Saxony and also known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections. Some existing examples with old Dresden inventory are respectively in the Dresden collection [1], the Museum Boijmans Van Beuningen in Rotterdam [2], and in the former Collection Ignazio Vok [3]. Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. A larger (43.5cm diameter) plate was sold at this saleroom, 5th November 2021, lot 229. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153
NORTHERN BLACK-GLAZED YUHUCHUN VASE JIN DYNASTY 金 北方窯系黑釉玉壺春瓶 the elegant pear-shaped body resting on a short straight foot raising to a slender neck gently everting to a trumpet mouth, covered all over with a lustrous black glaze suffused with minute brown spots and russet features on the mouth rim and above footDimensions:28.3cm highProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Sotheby's London, The Muwen Tang Collection of Chinese Song Ceramics sale, 12 November 2003, lot 20. With an original receipt.Exhibited: Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994. Catalogue no. 159.Note: Note: Compare to a similar black-glazed bottle vase, from the collection of Hirota Matsushige, published in the Illustrated Catalogue of Tokyo National Museum: Chinese Ceramics, vol. 2, Tokyo, 1990, no. 70. Another comparable example is from the collection of Mrs Alfred Clark, exhibited in Song Dynasty Wares: Chun and Brown Glazes, Oriental Ceramic Society, 1952, catalogue no. 89, subsequently sold at Sotheby's, 25 March 1975, lot 19.
RARE SMALL BLUE AND WHITE 'FOUR IMMORTALS' JAR MING DYNASTY, JIAJING MARK AND OF THE PERIOD 明嘉靖 青花雙圈「大明嘉靖年製」六字楷書款 青花蓬頭四仙圖瓜棱小罐 the quatrefoil lobed body sensitively moulded rising from a recessed base to a short straight rim, painted in vibrant underglaze-blue with a continuous scene of four Daoist immortals, including Li Tieguai leaning on his staff holding a double-gourd, Liu Haichan in joyous dance with his three-legged toad, together with Hanshan and Shide, amongst pine trees and rockwork, all beneath a ruyi lappet border, the base inscribed with a six-character Jiajing mark within a double-circle Dimensions:12.2cm highProvenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, 9 December 1998. With an original receipt no. 988 and a declaration of antiquity 'Invoice G988', both dated.Three circular paper labels from Solveig and Anita Gray attached on the jar, of which two on the base, the other in the interior of the mouth, all bearing the gallery's inventory number 'Z51', corresponding to the receipt. Another smaller circular label on the base inscribed '38', is the current owner's inventory number.Note: Note: The Jiajing Emperor (reign 1521-1567) started to pay excessive attention to his Daoist pursuits while ignoring imperial duties from the twenty-first year of his reign. According to the historical record Jiangxi Sheng Da zhi (Annals of Jiangxi), 'Volume of Ceramics', Jiajing Emperor commissioned many ceramic wares infused with the Daoist subject matter. This jar is a testimony of his Daoist obsession. The Daoist immortals depicted on this jar are Li Tieguai, one of the Eight Immortals; Liu Haichan, the God of Wealth; Hanshan and Shide, who are also known together as the Hehe Erxian Twins. It is rare to have them four depicted together. An ink and colour on silk scroll painting, painted by an imperial painter in the Ming Court Shang Xi (ca. 15th century), depicting these four immortals on crashing waves focusing on the God of Longevity in flight in the centre, now in the collection of the National Palace Museum, Taipei, museum number Gu Hua 故畫3689. This scroll painting is painted in meticulous brush craftsmanship, whereas the depiction on the present jar takes on a freer style, aptly applied to the subject matter of Pengtou Sixian (Four Unkempt Immortals), and cleverly captures the liveliness, freedom from the secular judgement, and the nonchalant manner of the immortals.A highly comparable example of a blue and white 'four immortals' quatre-lobed jar, dated to the Ming dynasty, Jiajing mark and period, was sold at Sotheby's New York, 16 September 2009, lot 189. The same jar was subsequently offered at Poly Beijing, 6 December 2011, lot 4938, then sold at the same saleroom, 28 July 2022, lot 5623.
A small Vietnamese 'lotus petal' dishLy dynasty, 13th/14th centuryThe interior left unglazed and incised with meandering lotus, the exterior formed with a double row of protruding lotus petals, covered in a transparent, greenish glaze, the recessed base also left unglazed, 9cm diameter.越南李朝 蓮瓣式碟Cf. similar lotus petal dishes, from the collection of the Museum of East Asian Art, Bath, and from private collections, illustrated by Stevenson, J and Guy, J, Vietnamese Ceramics, A Separate Tradition, Chicago: Art Media Resources and Avery Press, 1997, pp. 192 and 193.Condition Report: 品相報告Nibbling to edges and three shallow surface flake to the interior of the rim, largest approx. 10mm wide.
A FINE PAINTED LACQUER AND BASKETWORK BOX AND COVERMing Dynasty, 17th centuryOf rectangular form with canted corners, the cover painted and gilt with a gentleman and attendant in a tree-strewn riverside setting before a pavilion set against distant mountains, the interior similarly decorated with figures in a riverside landscape, within a gilt decorated floral border, the shaped basketwork panels to the exterior set within red lacquered borders.41.5cm (16 3/8in) long (2).Footnotes:Exhibited: Oriental Works of Art, Gerard Hawthorn Ltd., Summer 2005, no. 88.Compare with a similar rectangular painted lacquer basket work box, published East Asian Lacquer: The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, 1991, pp.142-143, no. 66.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
TWO GILT-DECORATED FOOCHOW LACQUER GUANYIN FIGURESEarly 20th CenturyEach standing in flowing robes holding a vase, the larger marked Made in China for G.T. Marsh & Co.The largest: 27cm (10 5/8in) high (2).Footnotes:G.T. Marsh was founded in San Francisco in 1876 by George Turner Marsh and was one of the first dealers in East Asian Art working in the USA.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com
NO RESERVE Asian Art.- Strange (Edward F.) Chinese Lacquer, one of 600 copies, signed presentation copy from the author inscribed "To G.Koizumi with the author's acknowledgements for valuable help Edward F.Strange" on front free endpaper, 1926 § Herberts (K.) Oriental Lacquer: Art and Technique, 1962 § Gettens (R.J.) The Freer Chinese Bronzes, vol.2 only (of 2: Technical Studies), Washington DC, 1969 § Donnelly (P.J.) Blanc de Chine: The Porcelain of Têhua in Fukien, 1969 § Laufer (Berthold) Chinese Pottery of the Han Dynasty, reprint, Rutland, Vt. & Tokyo, 1962, plates and illustrations, some colour, original cloth, all but the first with dust-jackets, a little rubbed, one or two tears to edges, the last also with slip-case; and c.15 others on Asian art, 4to & 8vo (c.20)⁂ Gunji Koizumi (1885-1965), pioneer of martial arts who introduced judo to the United Kingdom and expert and collector of lacquerware, the author of Lacquer work: A practical exposition of the art of lacquering together with valuable notes for the collector, 1923.
NO RESERVE Asian Art.- Martin (F. R.) The Miniature Painting and Painters of Persia, India and Turkey from the 8th to the 18th Century, facsimile reprint, handsomely bound in green morocco with inlaid panels of light brown morocco tooled in gilt and blind, by Book Ends, spine gilt and a little faded, Holland Press, 1968 § Parfionovitch (Yuri) & others, editors. Tibetan Medical Paintings: Illustrations to the Blue Beryl treatise of Sangye Gyamtso (1653-1705), 2 vol., original cloth, slip-case, 1992 § Khandalavala (Karl) Indian Sculpture and Painting, presentation copy with long ink inscription from Faly Wadia who financed the book on front free endpaper, original cloth, a little rubbed at edges, Bombay, [1938], plates and illustrations, some colour, some tipped in with captioned tissue guards, folio (4)⁂ F.D.Wadia (c.1976), member of the wealthy Farsi family of Surat and later Mumbai, pioneer of thoroughbred horse-breeding in India and collector of Indian art. Several of the works depicted in the book belonged to Wadia including the bronze figure of Shri Devi used as the frontispiece.
A Chinese porcelain bowl, late Ming DynastyProbably Wanli period, of rounded form with deep foot ring, decorated on overglaze enamel colours with a lotus pond scene beneath a panel border.24.5cm dia. (chips and hairline to rim)Footnote:A very similar bowl can be found in the collection of the Asian Art Museum, San Francisco, accession no. B69P9Condition:Two significant chips to the rim, one with associated hairline running down into body. Smaller chips to rim edge. Enamel wear in places, more pronounced on the inside.
Silver teapot and sugar bowl by P. Ovchinnikov. Laconic objects of Russian Art Nouveau with elements of functionalism, stylize oriental motifs. The teapot is especially close to the shapes and proportions of Central Asian jugs. Both objects bear the full mark of P. Ovchinnikov under a double-headed eagle. Moscow 84 sample of silver 1891. Total weight: 646 gr. Width: 17.5cm, Height: 18cm, Depth: 11cm, Weight: 0.646kg, Condition: Good, Material: Silver 84, Gilding
A GROUP OF SOTHEBY'S AND CHRISTIE'S ASIAN ART CATALOGUES The majority Chinese Ceramics and Works of Art, to include The Falk Collection I, New York 2001; Important Chinese Works of Art from the Arthur M Sackler Collections, New York December 1994; The Collection of Evelyn Annenberg Hall, New York, March 2006 etc (35) Condition: Condition Report Some fading to spines; and general signs of use This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
THE ART OF THE CHINESE SNUFF BOTTLE & OTHER ASIAN ART BOOK The Art of the Chinese Snuff Bottle, Hugh Moss; Victor Graham; Ka Bo Tsang, First Edition, Weatherhill, New York, 1993, 2 Vol with slip case; The Imperial Connection, Court Related Chinese Snuff Bottles, The Humphrey K.F.Hui Collection, 1998; Rivers and Mountains Far From the World, The Rachelle R Holden Collection, 1994; Inside Painted Snuff Bottles, Liu Jiang Hua Chopsons, 2008; Straits Chinese Furniture, A Collector's Guide, Ho Wing Meng, 1994; and three other paperback works on Asian art Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
TOMOSHIGE: A RARE WOOD NETSUKE OF A SNAIL ON A WELL BUCKET COVERBy Gyokuryusai Tomoshige, signed Tomoshige 友重Japan, Nagoya, c. 1820-1850, Edo period (1615-1868)Carved from a single block of wood and masterfully stained in various subtle tones, depicting a snail slithering across a well bucket cover, its arched body forming the cord attachment, the spiraling shell smoothly polished and fleshy body neatly stippled, a little hole carved in the interior of the shell to represent the breathing hole of the mollusk. Signed underneath TOMOSHIGE. A rustic, yet remarkably refined netsuke with a distinct Zen-Buddhist aesthetic.LENGTH 4 cmCondition: Very good condition. Some minor nicks here and there and few natural age cracks, some of the wear is simulated.Provenance: Ex-collection Teddy Hahn, Darmstadt, purchased from his dear friend Klaus Riess, Munich. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.The artist Gyokuryusai Tomoshige was a pupil of Arima Tomonobu of Nagoya. Furthermore, due to the use of the same kanji Shige 重 it is likely that Tomoshige was the predecessor to Shigemasa, who arguably perfected this type of snail netsuke in the latter half of the 19th century through the brilliant use of various stains to a single block of wood.Museum comparison:Compare to a closely related wood netsuke of a frog on a well bucket cover by Shigemasa is in the collection of the Los Angeles County Museum of Art (LACMA), accession number M.84.34.Literature comparison:A related wood netsuke of a snail on an old bucket by Tomoshige, dated to the early 19th century, is illustrated in Eskenazi Ltd. (1993) Japanese Netsuke from the Carré Collection, no. 193.
YASUTADA: A RARE WOOD NETSUKE OF A SNAIL EMERGING FROM ITS SHELLBy Yasutada, signed Yasutada 安忠Japan, late 18th to early 19th century, Edo period (1615-1868)Finely carved as a snail sliding over its coiled shell, its optic feelers fully extended and touching the shell, the skin neatly incised with a scale pattern, the shell with dense, gently curved lines, the varying incision work creating an appealing contrast in textures, the recesses finely stained. The underside with a 'natural' himotoshi between the snail's shell and body, which nonetheless has been rounded by the carver, the shell incised with the signature within a rectangular reserve YASUTADA – the artist is very rare with only few examples recorded. It is supposed he was a pupil of Tomotada of Kyoto.LENGTH 3.7 cmCondition: Excellent condition, appealingly worn. Provenance: Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.Museum comparison: Compare a wood netsuke of an ox by Yasutada in the British Museum, registration number F.221.Auction comparison: Compare a wood netsuke of a rat by Yasutada at Lempertz, 11 June 2022, lot 403 (sold for 2,268 EUR).
RYOJI: A FINE IVORY NETSUKE OF A SAMBASO DANCERBy Ono Ryoji, signed Ryoji 凌次Japan, Tokyo, late 19th centuryWell carved as a sambaso dancer standing on his right foot, wearing a characteristic striped eboshi with roundels, his voluminous robe neatly incised with pine saplings, leafy chrysanthemum sprays, and a foliate design. He holds a bell tree with cords attached in his right hand. The ivory bearing a subtle stain and fine polish. The back of his robe with two himotoshi. Signed to the underside above his right foot RYOJI.HEIGHT 4.9 cmCondition: Excellent condition with minor wear.Provenance: Collection Prof. Dr. Henk C. Hoogsteden, Rotterdam.Auction comparison:Compare to a related ivory netsuke of a sambaso dancer, with movable tongue, by Rakumin, at Zacke, Asian Art Discoveries, 20 January 2023, Vienna, lot 1408 (sold for 2,340 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number FR2207506036-K).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
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