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Lot 137
FIVE TSUBA (SWORD GUARDS)Edo period (1615-1868), 17th to 19th centuryThe first circular, iron, gold, and copper, pierced, chiselled, and inlaid with a mounted samurai by a river, signed Choshu Suigotei Inoue Masataka saku; the second mokkogata, katchushi style, pierced and chiselled with gourds and tendrils; the third shakudo, gold, copper, and silver, with chrysanthemums and butterflies in Mino-Goto style; the fourth circular, an early sukashi tsuba, the central section formed as an itomaki (silk-winder) with large ryohitsu piercings, inlaid in brass with floating pine needles; the last rounded rectangular with an applied rim modelled with bamboo-like nodes, chiselled and inlaid with saddle, bow, stirrups and arrow. The smallest: 7.5cm (2 15/16in) high; the largest: 9cm (3 9/16in) high. (5).For further information on this lot please visit Bonhams.com
Lot 267
AKASOFU GYOKKOA Gilt-Bronze Figure of an Archer Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryThe archer standing barefoot in a belligerent pose, leaning back slightly as he takes aim with a bow and arrow (detachable), a dagger and long sword tucked in his sash at his side, his garments decorated with gentian and cartwheel crests, and flying birds, signed in a gilt rectangular reserve Gyokko; fixed to a rectangular wood stand, carved and pierced around the sides with stylised paulownia among karakusa ('Chinese grasses'). 48cm (18 7/8in) high including stand. (2).For further information on this lot please visit Bonhams.com
Lot 168
Youqua (active 1840-70) rice painting album. The album contains eleven fine paintings of various Chinese ships, gouache on pith paper, glued in an album with silk covers, with inside label inscribed 'Youqua Painter, Old Street, No.34, some damages to the pith paper (condition report available) images approx 30 x 21.5 cms each with a blue silk ribbon surround. The album measures approx 25 w x 33 h cms. May Sale 12/05/2022Condition report: Picture (i) has tears to the middle right extremity; (ii) is in overall good condition with a small tear to the upper right corner and one split to the lower left extremitity; (iii) a couple of brown stains near the bow of the ship, with some loss to the lower left corner (iv) is in good condition however with a small scratch to the lower middle; (v) creeping moisture stain to the lower left of the painting, small tear to the lower right; (vi) creeeping moisture stain to the lower left and an area of loss to the middle distance of the painting with three tears to the lower extremities; (vii) creeping moisture stain to the lower left and an area of loss to the roof line of the ship with small tears to the lower extremities; is in overall good condition however a creeping moisture stain to the lower left of the painting with a small split to the middle left; (viii) good condition with tears to the lower extremities; (viiii) creeping moisture stain to the lower left of the painting. The soft cover is largely intact with some loss to the silk ribbon ties.
Lot 234
Antique silver and guilloche enamel pocket watch. The open-faced pocket watch having a white enamel face with numeric dial, suspended from a bow brooch heightened with enamel, approx. 28 x 30mm, in the original presentation box. May Sale 12/05/2022The pocket watch is moving forward at time of cataloguing. Some enamel loss to bow pin clasp. No guarantees given or implied.
Lot 118
A RARE ARCHAISTIC WHITE JADE TRIPOD INCENSE BURNER AND COVER, DINGQianlongFinely carved around the compressed globular body with archaistic taotie motifs beneath a galleried rim and supported on three cabriole legs issuing from mythical beast-heads, the sides flanked by a pair of S-shaped handles, the domed cover carved with further taotie motifs and surmounted by a rope-twist finial, zitan wood stand. 14.3cm (5 5/8in) wide (3).Footnotes:清乾隆 白玉雕仿古饕餮紋三足蓋爐Provenance: Christie's London, 8 April 1981, lot 228James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1981年4月8日，拍品編號228James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。The present lot embodies the brilliant creativity of Qing craftsmen in its combination of contemporary and archaic motifs. Continuing the Song tradition of reinterpreting large archaic ritual bronzes into relatively small jade vessels, this incense burner is carved with the archaic taotie motif. In response to jade carving in the 18th century, characterised by decorative objects with ornate high-relief designs, the Qianlong emperor commissioned a large number of jades which were inspired by the forms and designs of antiquity. Jade carvers were encouraged to move away from the 'new style' by studying archaic bronze vessels in the Palace collection or in illustrated woodblock prints, and adapting them to the medium of jade. Inspired in both form and decoration by archaic bronze ding, this incense burner epitomises this trend.Compare with a related white jade incense burner and cover with archaistic taotie design, Qing dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 10, Beijing, 2011, p.135, no.98. See also another related white jade tripod incense burner and cover but with bow-string design, Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2006, p.72, no.60.See also a related pale green jade tripod incense burner and cover, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 164.For further information on this lot please visit Bonhams.com
Lot 169
A FAMILLE VERTE 'JIA SIDAO' DISHKangxiBrightly enamelled with female equestriennes within a pavilion garden, overlooked by attendants and the Minister Jia Sidao with a fan, his foot on the balcony rail as if to jump over in excitement. 54.5cm (21 1/2in) diam. Footnotes:清康熙 五彩月下跑馬圖盤Provenance: Highfield Jones collectionSotheby's London, 30 November 1954, lot 113Eskenazi Ltd., London, 1986來源：Highfield Jones舊藏倫敦蘇富比，1954年11月30日，拍品編號113倫敦古董商Eskenazi Ltd.，1986年The presence of horse-riding women usually identifies this subject matter as the story of 'The Female Troops of the Yang Family'. Indeed, the composition is extremely similar to other dishes with this story. However, the crucial difference between this subject and that of the last Southern Song dynasty minister Jia Sidao, is the excited male figure on the balcony holding a fan. In the present lot, Jia Sidao is comically enjoying the pleasures of women riders at his Geling mansion by West lake. His over-excitement leads him to almost step off the balcony. According to the 'History of the Song Dynasty', emperor Duzong ascended the throne with the support of Jia Sidao (1213-1275) in 1264 after emperor Lizong passed away. He bestowed upon Jia the title of Imperial Teacher and a mansion at Geling in West Lake. Jia was allowed to attend the Imperial audience every three days and handle state affairs in his residence. At that time, all candidates who passed the Civil Examination were Jia's students and visited his mansion to deliver their gratitude. Jia wielded great influence throughout the government.In 1269, Jia became more arrogant and requested retirement quoting health reasons. Emperor Duzong, in tears, tried to retain him. In the end, emperor Duzong gave in, exempting Jia from performing the ritual bow when greeting the throne and allowing him to attend the Imperial audience every ten days. A contemporary poem made a sarcastic remark of the situation that there is no prime minister at the court but in West Lake instead. When the Mongols besieged Xiangyang, Jia paid no attention but surrounded himself with beautiful concubines ranging from Palace ladies and prostitutes to nuns in his Geling mansion. Jia was eventually assassinated and considered an 'evil' minister that led to the ultimate conquest by the Mongols. The figure in the Song official attire wearing the Imperial Teacher hat and brandishing a folded fan is Jia Sidao. In ancient China, holding a fan was a symbol of power and identity. The figure therefore should wield great power and enjoy a high social standing. The craftsmen who painted the present lot however, recycled the imagery and composition used to depict the ladies of the Yang family. See for example, a blue and white rouleau vase decorated with Jia Sidao holding a fan, Kangxi, illustrated in Folklore in Ming and Qing Porcelain, Hong Kong, 2019, pp.83-87.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1059
A Louis XVI Style Bow Fronted Marble Topped Sideboard with two frieze drawers with Sevres style floral plaques above storage base and two side cabinets. Ormolu mounted edges and acanthus and paw feet to sides, front and back. Walnut inlaid front panels with fleur de lys end panels. The whole surmounted with an inch and a quarter marble top. Height 38 inches length 83 inches. 23 inches deep. Early to Mid 20thC
Lot 1364
An Art Deco birds eye maple veneer bow fronted 4 piece bedroom suite. With inlaid banded detail and period bakelite handles. Comprising: double bed head and footboards (no irons), 4 drawer mirror backed dressing chest, large wardrobe and smaller wardrobe. Larger wardrobe has central extending hanging rail and 2 fixed rails, smaller wardrobe has extending hanging rail and interior shelving as well as shelving to inside of door. Both wardrobes are complete with original keys.
Lot 2902
China, twee famille rose porseleinen melkkannetjes, Qianlong periode (1736-1795), een met mandarijnendecor van figuren met kinderen, de ander met een exportdecoratie van duif bij pijl en boog (haarlijn, chipje, deksels ontbreken) Provenance: Particuliere collectie Chinees en Japans porselein uit het bezit van een Nederlands verzamelaarsechtpaar [2] h. 10-10,5 cm China, two famille rose porcelain milk-jugs, Qianlong period (1736-1795), one with Mandarin pattern of figures with children, the other with export decoration with dove near bow and arrow (hairline, chip, covers lacking), provenance: Dutch private collection
Lot 902
Full title: A Chinese blue and white 'sanduo' bowl, Kangxi mark and of the periodDescription:Dia.: 20,5 cm - H.: 9,5 cmÊ Provenance: An important Dutch private collection.Ê Condition: (UV-checked)- A short C-shaped ca. 3.5cm hairline on the underside of the bow, visible on in- and outside.- Otherwise in very good condition.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
Lot 83
JUAN LUNA Y NOVICIO (Badoc, Philippines, 1857 - Hong Kong, 1899). "Souvenir of the Battle of Lepanto ", 1887. Oil on canvas. Re-lined Signed, titled, dedicated to Vicente Romero Girón and dated in the lower left corner. Measurements: 20 x 19 cm; 52 x 48 cm (frame). Juan Luna's epic paintings were celebrated internationally, and it was "The Battle of Lepanto" (in homage to the Christian victory over the Ottomans in 1571) which brought him the greatest fame. In the same year in which he painted the historical theme of this naval battle (a commission from the Spanish Senate to the distinguished Philippine painter), he executed the portrait in question. As the dedication says, it is part of the same theme. Although it does not coincide exactly with any of the figures in the final painting, it has notable similarities with the main protagonists of the naval battle, as he would eventually conceive it. Firstly, we have John of Austria (of whom he made various preparatory drawings, and who in the final painting is placed at the bow of the ship, captaining the Christian fleet), wearing a helmet topped with a plume of feathers, with an aristocratic profile and a trimmed moustache, similar to the present figure. However, it is more likely that this is a self-portrait, as Juan Luna included himself among the sailors in Philip II's army (which also included Cervantes). Indeed, his features coincide with those of the personage who in the official commission wears a dalmatic and helmet. The fact that he is included as part of such a victorious feat attests (the royal galley sinking the Turkish galleon) to the self-esteem Juan de Luna owed to himself, and also to the pre-eminent place he enjoyed not only in the Spanish sphere, but also internationally. In the present portrait, we see the sitter in profile, looking straight ahead, with a fragment of sail breaking the composition diagonally, and his gaze straight ahead leads us to imagine his complacency at the enemy's shipwreck. "The Battle of Lepanto", a symbol of the Catholic triumph against the invading forces, was intended for the Senate Conference Room. In technique and style, we can appreciate the broad, vibrant, undone brushstroke characteristic of the Filipino painter, a language close to Impressionism but inscribed in a realism of naturalistic tone. Juan Luna trained at the Ateneo de la Compañía de Manila, where he was taught by Agustín Saéz. He entered the Academy of Fine Arts in the same city, where he was a disciple of Lorenzo Guerrero. In 1877 he was awarded a scholarship by the Manila City Council which enabled him to move to Madrid to further his training at the San Fernando School of Fine Arts. In the Spanish capital he became a pupil of Alejo Vera and travelled with him to Rome when the latter was appointed director of the Spanish Academy in that city. He subsequently settled in Paris, where he opened his own studio. He received important institutional commissions, among them the one he received in 1887 from the Spanish Senate, "The Battle of Lepanto". The Ministry of Overseas France commissioned another work from him, a composition representing Spain and the Philippines. Luna also took part in numerous official exhibitions, being awarded a second medal for "Cleopatra" at the National Fine Arts Exhibition of 1881 and a first medal for "Spoliarium" at the National Exhibition of Fine Arts of 1884. He also exhibited his works abroad, and in fact sent his canvases to the Paris Salon of 1886, where he was awarded the third medal. Two years later, in 1888, he was awarded a second medal at the Universal Exhibition in Barcelona. He took part in the Universal Exhibition in Paris, where he was awarded the third medal. Juan Luna's works are currently represented in important art centres such as the Prado Museum, the National Museum of the Philippines, the Cádiz Town Hall, the Captaincy General of Seville, the Government Delegation of the Basque Country, etc.
Lot 238
A BRONZE VIRABHADRA PLAQUE, DECCAN, SOUTHERN INDIA, CIRCA 18TH CENTURY of rectangular form, the four-armed manifestation of Siva depicted in relief stepping to his left, wielding sword, shield, bow and arrow within a lobed arch with kirtimukha above, a diminutive figure of Daksha at his side with hands in anjali mudra, large carrying handle at the back 24.3 x 15 x 5cm approximately Daksha offended Siva by not inviting him to attend a sacrifice following an earlier occasion when Siva had slighted him. Sati who was Daksha's daughter as well as being Siva's wife was present and felt so insulted that she threw herself on the pyre. Then Siva appeared as Virabhadra and cut off Daksha's head to avenge his wife. Other gods pleaded for Daksha's life but although Siva decided to spare him, his severed head could not be found so the head of a goat was substituted instead. ++Worn and slightly knocked
Lot 365
*A SANTAL LUTE (DHODRO BANAM), EASTERN INDIA, PROBABLY JHARKHAND, CIRCA 19TH CENTURY wood and hide, of stylised female human form, her head forming the headstock with single string emerging from her chin, a tuning peg on one side, with long neck and rectilinear body, carved with hands, breasts and shallow linear decoration, hide resonator at the bottom front 58cm high approx. The dhodro banam is related to the sarinda or sarangi, usually with just a single string, played with a bow in vertical position, and thought to have origins in Central Asia. The Santal people consider these instruments as an aspect of their own self. This is evident in the overall shape, sometimes overtly depicting a human figure, at other times merely hinting at it, perhaps with the addition of human arms, as in lot 375. The Santal are a large tribe which speak their own language, and most live in the newly created Indian state of Jharkhand in Eastern India. Smaller groups are to be found in neighbouring states. For further infor...
Lot 403
*A NORTH INDIAN SARANGI, EARLY 20TH CENTURY wood, with bone, leather, hide and metal, the pear-shaped body with hide resonator, the thick tapered neck with inlaid fish motif, the headstock supported by an open Mughal style arch, multiple tuning pegs along one side of the neck and the top of the headstock, four larger pegs on either side of the headstock for the primary strings, together with an associated bow 67cm high (sarangi), 71cm length of bow (2) For an account of the evolution of the sarangi and illustrations of various types including examples similar to this, see Joep Bor, 'The Voice of the Sarangi' in the Quarterly Journal of the National Centre for the Performing Arts, Amsterdam 1987, pp.75-79. ++Worn and knocked, some replaced and repaired parts
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