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Lot 209
Sale Item: BOHEMIAN RED GLASS WITH BEAR Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Lot 270
A RARE JAPANESE WOOD AND LACQUER SADDLE, SUIKAN KURA MOMOYAMA PERIOD OR LATER, 16TH/17TH CENTURY The surface decorated in black lacquer, urushi, the front with a Christian gold lacquer maki-e mon depicting a patt?e cross, kurusu, in a circle above a lotus flower, with radiating rays around it, possibly the crest for the Satsuma clan or another Christian Daimyo family, 41cm. The patt?e or patty cross is characterised by arms that are narrower at the centre. Objects made for Jesuit missionaries in Edo period Japan sometimes bear this symbol and so it is possible this saddle was made for a high-ranking convert.
Lot 308
A LARGE JAPANESE CLOISONNE ENAMEL PLAQUE IN THE STYLE OF ANDO JUBEI (1876-1953) MEIJI PERIOD, 19TH/20TH CENTURY Depicting a full moon on a dove-grey ground appearing from behind clouds, the scene subtly rendered in musen shippo (wireless) enamels, signed and with two red seal marks for Maruyama Okyo (1735-1795), the reverse with a pattern of V-shaped wires, 52cm x 36.6cm. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. This large plaque features the complex technique of musen shippo or wireless cloisonn? enamels. Developed by the artist Namikawa Sosuke and his Shippo Kaisha studio in the late 1870s, the wireless technique allowed artists to create soft pictorial effects such as this diaphanous night scene. Many other artists, including those of Ando Jubei's studio, copied this style of cloisonn? by using a variety of methods. One approach was to temporarily attach the wires and remove them once the enamel powders had been applied before firing. Another method was to hide wires under subsequent layers, and a third was to dissolve the wires with sulfuric acid and fill the gaps with a final layer. In all cases the enamels had to be ground flat several times to create a smooth surface for the next layer to be applied; this would have been a time-consuming and painstaking process. Cloisonn? makers only rarely created grey monochromatic pieces and even fewer featured designs from Edo-period painters. Although this plaque doesn't bear a mark for the cloisonn? maker, it features the signature of the famous painter Maruyama Okyo (1735-1795). Okyo is commonly regarded as one of the greatest artists of 18th century Japan. Coming from a humble farming background, he made his way to Kyoto where he found work painting faces on dolls. Okyo then discovered optical devices featuring pictures with a European perspective, and from there grew his interest for Western paintings. His style developed to offer a unique marriage of Japanese aesthetics, traditional Chinese influence and Western naturalism. Okyo founded the influential Maruyama School of painting, encouraging his students to sketch from life, himself drawing nude figures in varying poses and superimposing clothes afterwards. His art grew enormously popular with the public and the Imperial court from which he would get many important commissions.
Lot 43
Arab on a Camel: A clockwork, tinplate, Arab on a Camel, Made in Germany, US Zone, height approx. 16cm; together with a clockwork, tinplate and felt, Bear, Made in Japan, length approx. 14cm; and a clockwork, tinplate, Ostrich Pulling a Man in a Carriage, Made by DGM, Germany, length approx. 18cm. (3)
Lot 123
A MASSIVE CHINESE BLACK AND CELADON JADE 'YINGXIONG' GROUP QING DYNASTY The stone skilfully worked with a single-horned mythical beast carved from the black section of the stone whilst an eagle is predominantly picked out in celadon, both creatures stand side by side gazing backwards with well-defined bulging eyes, the eagle with its left leg raised and talons tightly clasped, with an old paper label to the shoulder of the lion-like beast, all raised on a rocky platform, the black and celadon areas of the stone both with white and russet markings, 34cm, 10kg. The imagery depicted is an interpretation of the motif of an eagle, ying, and a bear, xiong, which together form the word yingxiong, homophone for 'hero'. The theme of an eagle and bear first appeared on Western Han dynasty bronze 'champion' vases. This developed throughout later periods into more stylised representations where the bear is often rendered as a mythical beast resembling a lion and the eagle is sometimes portrayed as a phoenix. Provenance: from the collection of Reverend Victor Farmer (1898-1977) and thence by descent. Whilst Farmer sold several Chinese ceramics at Sotheby's in 1961, he was primarily a collector of Chinese hardstones and other works of art. Much of his collection was also sold at Phillips on 15th February 1978. Cf. A Forsyth and B McElney, Jades from China, p.292, no.292 for a Ming dynasty jade carving of an eagle perched on a lion-like mythical animal in the collection of The Museum of East Asian Art, Bath; see also Sotheby's Hong Kong, 1st December 2016, lot 172 for another Ming piece with a comparable subject matter and lot 203 for a related small 17th/18th century yellow jade 'yingxiong' carving depicting a bird of prey with a similarly rendered mythical beast.清 糖色玉雕英雄擺件來源：Reverend Victor Farmer （1898-1977）收藏，1961年Farmer曾經在蘇富比出售過他的瓷器收藏，1078年2月15日在Phillips上拍過他的玉石收藏。
Lot 6
ANONYMOUS COURT PAINTER (QIANLONG, DATED 1750-59) ALBUM LEAVES FROM THE IMPERIAL HOUSEHOLD REGULATIONS Twelve rare Chinese paintings, all with inscriptions from the Huang Chao Li Qi Tu Shi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), ink, colour and gilt on silk, eight of the double pages bear an explanatory text about the object on the right page, 41cm x 42.5cm. (10) Provenance: by repute, from the Imperial Library of the Old Summer Palace, Beijing, acquired in 1860 by Captain William Gordon Chalmers (1835-1868) of the 15th Punjabees (Pioneers), later numbered 23rd. Acquired by the father of the current owner c.1950s directly from the family of Captain Chalmers. Captain William Gordon Chalmers was born in Monkshill, Aberdeen in 1835 and became a Lieutenant in the 51st Bengal Native Infantry on the 27th January 1857. In 1860, he served in the Second Opium War at the Taku Forts, Tianjin, and Beijing. Cf. I Clark, For Blessings and Guidance: the Qianlong Emperor's Design for State Sacrificial Vessels, p. 74, fig.35 for another leaf from the Huang Chao Li Qi Tu Shi in the collection of the Palace Museum, Beijing depicting a deng vessel of the same design. The author also describes this vessel which was used in the Temple to Imperial Ancestors. See also p.187, no.21 for a pair of deng vessels of the same design from the Huaihaitang Collection, no.18R10.11; see The Victoria and Albert Museum, London for similar album leaves, and Christie's Paris, 13th December 2017, lot 108 for related examples recently sold at auction. The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty is a manuscript commissioned by the Qianlong Emperor. It was a major Imperial commission and as many as twenty-seven court painters and calligraphers worked on it between 1750 and 1759 under five editors including Yilu, Wang Youdin and Guanbao. The book is comprised of six parts: musical instruments, scientific equipment, ceremonial vessels, dress, weaponry and insignia. They contain more than thirteen hundred leaves of illustrations and texts explaining the specifications of paraphernalia used in the highly complex state ritual practices. There are many versions of this book but the leaves in this present lot are from the original edition kept at the Wenyuan Pavilion Library of the Old Summer Palace, Beijing.允祿、蔣溥、汪由敦等（清乾隆） 皇朝禮器圖式 十二開冊款識：1. 太廟後殿登圖，太廟後殿登，說見正殿。2. 職官甲二圖，職官甲二，謹按本朝定制職官甲前後及護肩各繡團蟒一裳幅團蟒二倶如職官甲一之制文三品以下驍騎恭領郡君額駙縣君額駙嚮君額駙直省副將以下皆被之。3. 皇帝大駕鹵簿九龍曲蓋圖，皇帝大駕鹵簿九龍曲蓋，謹按崔豹古今注太公因折蓋之形而製曲蓋自漢朝秉與用四，乾隆十三年，欽定大駕鹵簿九龍曲蓋黃緞為之通高一丈二尺二寸，蓋徑五尺，繡彩雲上冠金頂一尺一寸，垂幨三層各深一尺一寸，繡金龍九間以流雲火珠下綴金鈴各十五，旁垂彯帶二長三尺五寸濶二寸五分如蓋色亦繡彩雲綴鈴各三曲柄為木質塗金龍首徑二尺三寸上下攢竹髹朱上長三尺七寸下長五尺二寸圍四寸七分，鐓以銅鋄銀長八分。法架鹵簿九龍曲蓋同。4. 皇帝大駕鹵簿九龍蓋圖，皇帝大駕鹵簿九龍蓋，謹按遼史，儀衛志直柄華蓋乾隆十三年欽定大駕鹵簿九龍蓋黃緞為之直柄餘倶如九龍曲蓋之制法駕。鑾駕鹵簿九龍蓋皆同。5. 皇帝大駕鹵簿翠華蓋圖，皇帝大駕鹵簿翠華蓋，謹按揚雄甘泉賦，咸翠蓋而鸞旂李善注翠羽飾蓋宋元嘉起居注訶羅國奉孔雀蓋一具元史輿服志孔雀蓋朱漆竿首建小蓋蓋頂以孔雀毛徑尺許下垂孔雀毛尾，乾隆十三年，欽定大駕鹵簿翠華蓋綠緞為之通繡孔雀翎旁無彯帶餘倶如九龍曲蓋之制。法駕鹵簿翠華蓋同。6. 皇帝大駕鹵簿五色花改圖，皇帝大駕鹵簿五色花蓋，謹按崔豹古今注，華蓋黃帝所作也與蚩尤戰於逐鹿之野有五色雲氣金枝玉葉於帝上有花蘤之象故因而作華蓋唐書儀衛志花蓋二元史輿服志華蓋制如繖而圓頂隆起赤製繡雜花乾隆十三年，欽定大駕鹵簿五色花蓋五色緞為之各四每間以龍蓋二通繡雜花直柄餘倶如九龍曲蓋之制。法駕騎駕鹵簿五色花蓋皆同。7. 皇帝大駕鹵簿五色龍蓋圖，皇帝大駕鹵簿五色龍蓋，謹按桓譚新論三蓋之屬皆元黃五色乾隆十三年，欽定大駕鹵簿五色龍蓋五色緞為之各二與花蓋相間直柄餘倶如九龍曲蓋之制。法駕鹵簿五色龍蓋同。8. 皇帝大駕鹵簿紫芝蓋圖，皇帝大駕鹵簿紫芝蓋，謹按漢書揚雄傳翳華芝服虔注華芝華蓋也，張衡西京賦芝蓋九葩薛綜注以芝為蓋有九葩之采魏書禮志前驅芝蓋乾隆十三年，欽定大駕鹵簿紫芝蓋緞為之通繡五色芝二十四旁無彯帶餘倶如九龍曲蓋之制。法駕鹵簿紫芝蓋同。9. 皇帝大駕鹵簿方繖圖。皇帝大駕鹵簿方繖圖。10. 皇帝大駕鹵簿五色龍蓋圖。皇帝大駕鹵簿五色龍蓋圖。來源：1950年代由現藏家的父親從Chalmers軍官（1835-1868）處購得。1835年William Gordon Chalmers出生於阿伯丁，1857年1月27日晉升為中尉。縱觀中國文明歷史，有關祭禮的文字記錄最早可以追溯到東周的《周禮》及戰國時期的《禮記》。祭禮在中國文化中一直扮演著重要的角色，其作用為區分地位等級、規範禮制，從而鞏固國家統治。清代乾隆皇帝重視推行禮制改革，並下旨按新規格製作宮廷祭器及大禮用具，這些新的規章制度都記錄在《皇朝禮器圖式》中。《皇朝禮器圖式》是一部冊頁式的圖譜，乾隆十五年（1750）碩親王允祿（1695-1767）、蔣溥（1708-1761）、汪由敦（1692-1758）等禮部、兵部及工部奉敕纂修的記載各種清朝典章制度器物的政書，並與乾隆二十四年（1959）完成。全書共十八卷，分為六大部分：卷一、二為祭器，卷三為儀器，卷四至七為冠服，卷八、九為樂器，卷十至十二位滷簿，卷十三至十八位武備及繁複的清代宮廷祭典需要的各種用具。圖文並茂，共計1300幅圖，每件器物都有詳細尺寸、質地、紋樣以及相應官職品級的對照。全書是清朝皇庭對典章登記制度之嚴謹的直接寫照。此書有乾隆內府彩繪本、手抄本、乾隆三十一年（1766）武英殿刻本，清光緒重印本等。本次上拍的《皇朝禮器圖式》為曾藏於文苑閣內的清宮內府彩繪本中的十二開冊，其它部分散落各處，英國維多利亞與阿爾伯特博物館、大英圖書館、愛丁堡博物館及愛爾蘭博物館都有收藏。其中太廟後殿登圖中所描繪的黃地粉彩九龍穿雲紋登在香港中文大學文化館特展《皇朝禮器》中展出，由懷海棠收藏。
Lot 232
Four Chinese single rank badges and two pairs of 4th rank geese badges, Qing Dynasty, comprising a quail, a peacock, a blue bear and crane on a red ground and a padded panelled gold thread badge and another half of a badge similar (9) Provenance: Property of an English collector, mainly buying in Portobello market, and various places in London, in the early 1950's and 1960's. 清 各式官服补子一组九件 拍品来源：英国私人收藏，主要于上世纪50-60年代购自伦敦
Lot 174
ARCHAISTIC CELADON JADE CYLINDRICAL TRIPOD CUP (ZHI), finely-carved with two registers of dragons, phoenix and human forms, entwined in a scrolling design, all on three bear-form feet, the stone partially calcified, 7cm high Note: the form of this cup derives from prototypes unearthed in Han Dynasty tombs. They may originally have been used by the Han Emperors to drink crushed pearls. See Lin, J.C.S., The Search for Immortality: Tomb Treasures of Han China, Cambridge, 2012, pl.58; and Sun-Bailey, S., Gained in Translation, Orientations, July 1991, pp.25-27. For Qing Dynasty and later archaistic examples see Bartholomew, T., Knight, M., and Li, H., Later Chinese Jades, San Francisco, 2007, no.231, pl 215; and The Complete Collection of Treasures of the Palace Museum, Jadeware (II), 1996, p.41, pl.33. For two related jade cups sold at auction see Bonhams San Francisco, 24th June 2014, lot 8048; and Bonhams Hong Kong, 4th June 2015, lot 30.PLEASE NOTE: LIVE BIDDING IS NOT AVAILABLE FOR THIS LOT 很抱歉，该拍品不支持网上竟拍。谢谢合作。
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