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Lot 104
A CHINESE BRONZE 'ELEPHANT' CENSER. The tripod censer with three elephant heads and legs. With pierced wooden cover surmounted by a jade monkey finial. Six-character seal mark of Xuande to base. 15cm diam. x 12cm height. Weight 1686 gramsOverall good condition with no major damage or repairs.
Lot 150
TWO SINO-TIBETAN BRONZE FIGURES. To include a figure of a Lama seated on a lotus base with incised inscription to verso and a figure of Kubera seated on a lotus base holding a rat in his left hand. 14cm 1nd 14.5cm height.Minor areas of staining and erosion. No major damages and no signs of repair.
Lot 225
A CHINESE PAINTED GREY POTTERY FITTING IN THE FORM OF A BEAR, HAN DYNASTY (206BC-220AD). An unusual item originally purchased as a 'spout in the form of a mythological creature'. The bear was a popular symbol in the Han dynasty and could be found used as a fixings or supports made in bronze, ceramic and jade. 13.5cm height.With a Certificate of Authenticity from B.C.Galleries, E1133, dated July 2004. Provenance: From a private Essex collection. Purchased from B.C. Galleries, Ancient Art & Archaeology Ethnographic Art, Australia 2004.
Lot 233
A RARE CHINESE POTTERY HU JAR AND COVER, HAN DYNASTY (206BC-220AD). Modelled on the earlier archaic bronze vessels. A slightly-domed cover with four finials, moulded looped Taotie mask handles, decorated with bands of geometric patterns. Approx. 32.5cm height.Provenance: From a private Essex collection. Purchased from Abhaya Asian Antiques, 2005.
Lot 246
RARE CHINESE BRONZE GRADUATED MEASURING / POURING CUPS, HAN DYNASTY (206BC-220AD). Nine cups in total fused together with a larger separate cup to cover. The interior with traces of red pigment. Approx. 12.5cm diam. 7.5cm height when covered.Together with Certificate of Authenticity, No.691, signed and dated July 2003.Provenance: From a private Essex collection. Purchased from Allen's Antiques Ltd, New Zealand 2003.Cups are fused together in bottom section. Surface in good overall condition with surface wear expected with age.
Lot 247
A GROUP OF FOUR CHINESE BRONZE ITEMS, WARRING STATES / HAN DYNASTY OR LATER. To include two bronze belt hooks, one with inscription. A bronze fitting with four pierced holes and borders of meandering pattern and another bronze / iron fitting with gilt domed top. Longest belt hook 18cm length. (4)Provenance: From a private Essex collection. Belt buckle without inscription purchased from Allen's Antiques Ltd, New Zealand 2006. Circular fitting purchased from Abhaya Asian Antiques, Hong Kong 2005.
Lot 248
PAIR OF CHINESE BRONZE ARROWHEADS WITH LACQUERED BAMBOO ARROW SHAFTS, WARRING STATES (480-222 BC). The trilobate arrow heads affixed to black and red lacquered bamboo shafts with geometric design. Total length approx. 58.5cm. Bronze arrowheads 6.3cm and 7.3cm lengths. (2)Together with a Certificate of Authenticity from B.C. Galleries, No. 09414, signed and dated March 6th 2006. Provenance: From a private Essex collection. Purchased from B.C. Galleries Ancient Art & Archaeology Ethnographic Art, Australia 2006.
Lot 64
SIX VARIOUS CHINESE / JAPANESE ITEMS. To include a Japanese Satsuma ware bowl, a glazed pottery figure of a lady, a green glazed pottery jar with fish, a carved wooden figure with inscribed characters to base, a white metal hat piece mounted on wooden stand and a bronze pot with wooden handle and jade ring, marked 'China' to base. Lady 27.5cm height. (6)Figure of lady with losses to hand and repair around earrings. Satsuma bowl good condition. Green jar good general condition. Wood figure in good condition. Hat piece on stand in good condition. Wooden handled pot in good general condition.
Lot 127
An early 20th century bronze plaque of a winged angel stamped W.T Pavitt London. William Thomas Pavitt was an Arts and Crafts designer & maker of Talismanic Jewellery.Later added hanging loop, there is a fracture to a wing tip which seems stable but possibly glued, no other damage or repair.
Lot 118
Inter-war miniature medal group, awarded to Lieutenant-Colonel F.D Alexander, 19th Hussars; Queen Victoria South Africa medal with four clasps South Africa 1901, South Africa 1902, Orange Free State and Transvaal; Queen Victoria medal with two clasp Transvaal and South Africa 1902; British war medals with MID oak leaf including a King George and Queen Mary 1910-1935 medal and associated miniature and a George VI and Queen Elizabeth medal and associated miniature and the miniature Belgium Croix de Guerre (1914-1918). This lot includes a black and white photograph of Lieutenant-Colonel F.D Alexander, two Army Officers commission certificates for Francis David Alexander as 2nd Lieutenant in February 1901 signed St. John Brodrick (William St John Fremantle Brodrick, 1st Earl of Middleton, KP, PC, DL) and Captain in February 1914 signed by H Slater and R. Slade and a bronze medallion awarded to F.D Alexander for fourteen matches played and won dated 1898, boxed. This lot includes other associated paperwork including his marriage debenture and the book 'Rum 'uns to Follow' Memories of Seventy Years in the Shires by Melton Roughrider publ. Country Life Ltd. Note: Lieutenant-Colonel F.D Alexander (Priest Alexander) joined The 19th Hussars, towards the end of the Boer War. In 1911 after the Boer War he left the 19th Hussars to become secretary to the Pytchley Hunt, under the Mastership of Lord Annaly with Frank Freeman as huntsman. He re-inlisted to serve in The Great War to form the nucleus of General Gough's Cavalry Divisional Headquarters, he became known as 'Priest Alexander' becoming Divisional Signals Officer, he distinguished himself and was mentioned in dispatches, in 1918 he lost an eye whilst leading a squadron. Soon after WWI he succeeded Col. Wood as Commandant, Remount Depot, Melton Mowbray, and became purchaser of all the cavalry horses, a job that he retained until 1939, when he retired. He was highly respected by both breeders and dealers of horses who admired his knowledge and understanding.
Lot 141
WWI medals to 51361 Pte R. Hailes Royal Scots Regiment, 1914-18 Great War, Victory medal, together with a bronze memorial plaque for Robert Hailes, remembered with honour Ploegsteert Memorial, with associated paperwork including 1942 Training of the Younger Cadet; Clothing vouchers, Tobacco Duty relief tokens, Clothing books, Far Eastern Survival Land and Sea, Civil Defence Pocket Book nr 4, Army Cadet Force Instructors Handbook 1948.
Lot 100
A RARE CLOISONNÉ ENAMEL AND GILT-BRONZE 'BUDDHIST LIONS' EWER16th centuryOf ovoid form with a high arched loop handle and serpentine spout, enamelled around the body with six Buddhist lions encircling two brocade balls tied with ribbons, amidst ruyi-head clouds interrupted by a small vase holding precious objects, all between a band of ruyi-head petals around the shoulder and lotus petals around the base, the neck, spout and base similarly enamelled with scrolling foliage. 22.2cm (8 3/4in) wide.Footnotes:十六世紀 銅胎掐絲琺瑯獅子繡球穿花執壺Although the lion is not native to China, its image has long been important to the repertoire of Chinese iconography. Lions were first presented to the Han court by emissaries from Central Asia and Persia, and the Chinese for lion (shi 獅) is thought to be derived from the Persian word šer. Lions were often depicted in stone statuary, symbolising protection and law, and from the Tang dynasty, appeared on decorative arts. The Buddha's teachings are often referred to as the 'lion's roar' in the sutras, indicating their power and nobility. Buddhist lions playing with a brocade ball became the most popular form of imagery for the lion during the Ming dynasty. For a very similar decoration of Buddhist lions, see a cloisonné enamel dish, 16th century, illustrated by C.Brown, Chinese Cloisonné: The Clague Collection, Phoenix Art Museum, 1980, pp.22-23, pl.3.Compare with a very similar cloisonné enamel ewer and cover, 16th century, also decorated with lions, illustrated by H.Brinker and A.Lutz, Chinesisches Cloisonné: Die Sammlung Pierre Uldry, Zurich, 1984, no.98. The author notes that 'no prototype in porcelain [of this shape] exists, but other examples are known in cloisonné enamel. These ewers, sometimes decorated with lions, sometimes with scrolling lotus, possibly served as ritual vessels in Buddhist or Lamaist ritual ceremonies.' Compare with a very similar cloisonné enamel ewer and cover, 16th century, which was sold at Christie's Paris, 7 December 2007, lot 6; and another very similar cloisonné enamel ewer and cover, 17th century, which was sold at Christie's London, 12 November 2010, lot 1146.For further information on this lot please visit Bonhams.com
Lot 101
A LARGE CLOISONNÉ ENAMEL AND GILT-BRONZE TRIPOD BOWLMid Ming Dynasty, the mounts QianlongRobustly cast with deep curving walls enamelled around the exterior with large lotus heads issuing from meandering scrolls, the interior similarly decorated but the well with two fish leaping from swirling waves around a lotus cluster, the vessel raised on three elephant-head legs with long tusks and decorated with beaded jewellery.28.2cm (11 1/8in) diam.Footnotes:明中期 銅胎掐絲琺瑯纏枝蓮紋盌 配鑲清乾隆鎏金象足Provenance: a European private collection來源：歐洲私人收藏Compare with a very similar cloisonné enamel bowl with similar lotus blossoms with three petals beneath the central section, 15th/16th century, in the Metropolitan Museum of Art in New York, illustrated by B.Quette, Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, Paris, New Haven and London, 2011, pp.70 and 238, fig.4.12 and no.27. See also a cloisonné enamel dish, with a very similar design of fish in the well, second half 15th century, illustrated by H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, New York and London, 1989, no.33. The elephant mounts are a direct continuation from the early Ming dynasty; see for example an incense burner with elephant feet, early Ming dynasty, in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum, Enamels 1, Cloisonné in the Yuan and Ming Dynasties, Beijing, 2011, p.103, pl.34. However, the mounts were added during the Qianlong reign.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 104
A CORAL AND JADEITE-INLAID GILT-BRONZE INCENSE BURNER AND COVERQianlongOf oval four-lobed form, incised with lotus and inlaid beneath the galleried rim with jadeite lappets, each lobe inlaid with a shou medallion, flanked by a pair of archaistic scrollwork with ruyi heads, all supported on four cabriole feet, the domed cover pierced with ruyi-head shaped panels, and surmounted by a large openwork foliate finial. 17cm (6 3/4in) high (2).Footnotes:清乾隆 銅鎏金嵌寶四足蓋爐Provenance: a European private collection來源：歐洲私人收藏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 115
A VERY FINE ARCHAISTIC SPINACH-GREEN JADE INCENSE BURNER AND COVER, TULUQianlongFinely carved around the exterior with a decorative band of archaistic dragons with their bodies interlaced as if to form waves, the heads rising above the writhing bodies at regular intervals, all above a further band of taotie masks, flanked with a pair of animal-head handles suspending loose rings, the cover carved with a large coiling five-clawed dragon finial surrounded by four smaller chilong, the stone of deep green tone. 15.5cm (6 1/8in) wide (2).Footnotes:清乾隆 碧玉四柱式爐Provenance: James Basil Wilson and Julia Wilson, acquired prior to 1977, according to insurance valuation by William Clayton Ltd. 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：James Basil Wilson與Julia Wilson伉儷舊藏。據倫敦古董商William Clayton Ltd.開具的保險估值報告，於1977年以前入藏，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 incense burner and cover would have been part of a three-piece garniture comprising an incense burner, a vase and incense box, often known as the 'Three Accessories' or sanshi; see two examples of such sets in spinach-green jade in the Qing Court Collection, illustrated in Compendium of Collections in the Palace Museum: Jade 10 Qing Dynasty, Beijing, 2011, no.111; and another such set in the Musée des Arts Décoratifs, Paris, illustrated by Tsao Huei-chung, Jade: From Emperors to Art Deco, Paris, 2016, no.132. The sets were placed on a scholar's table in the Qing Court for burning incense.The form of this type of vessel is derived from the archaic bronze tradition. The Qing emperors proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic qualities of sincerity, simplicity and happy exuberance. The Qianlong emperor, in particular, was fond of adapting archaic shapes into contemporary designs and instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' Xi Qing Gu Jian, which were provided to the craftsmen for inspiration; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.One such vessel is illustrated by Wang Tao, Chinese Bronzes from the Meiyintang Collection, London, 2009, no.127, where the author notes that the unusual form indicates a different function from other ritual food vessels, and speculates that it may have served as a pigment container. It is interesting to note that this type of vessel was also made from jade during the archaic periods of the late Shang to early Western Zhou: see an article by Prof. Ch'eng Te-k'un, 'The T'u-lu Colour-Container of the Shang-Chou Period' in the Bulletin of the Museum of Far Eastern Antiquities, 1965, vol.37, pp.239-50.Compare also a similar spinach-green jade tulu and cover in the Victoria and Albert Museum, London, illustrated by M.Wilson, Chinese Jades, London, 2004, pl.52.See a similar Imperial spinach-green jade tulu, 18th/19th century, which was sold at Sotheby's New York, 19 March 2007, lot 16.For further information on this lot please visit Bonhams.com
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 119
A VERY RARE LARGE JADE CARVING OF A WATER BUFFALOQianlongThe imposing yet peaceful recumbent beast naturalistically modelled with its forelegs and hind legs tucked under the powerful body accentuated by a pronounced spine, the tail flicked to the right side and head turned to gaze amenably at the viewer, the gracefully-curved ridged horns flanking the flat forehead, the stone of pale-green tone with brown patches, huanghuali stand. 22cm (8 1/2in) long (2).Footnotes:清乾隆 青玉臥牛Provenance: William Clayton Ltd., London, 31 July 1978James 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：倫敦古董商William Clayton Ltd.，1978年7月31日James 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 imposing recumbent beast conveys at once both strength and peacefulness. The sheer size and weight of the jade stone, the muscular haunch, full rounded body and the striking ribbed horns exude power; the recumbent pose and countenance convey tranquillity.Buffalos were emblematic of agriculture. As such, in Imperial China, where agriculture was considered by Confucian governments to be the main source of tax revenue, the buffalo - used for ploughing - underpinned rice production and the rural economy, and represented prosperity and dedication to hard work. Emperors frequently likened themselves to farmers ploughing the fields with an ox or buffalo under their reins. See for example, the Yongzheng emperor depicted as a famer in Pictures of Tilling and Weaving Portraying Yinzhen, Kangxi period, in the Palace Museum, Beijing (acc.no. Gu00006634-8). See also Le Premier Sillon ouvert par l'Empereur, Qingeng tu, Yongzheng period, in Musée national des arts asiatiques Guimet, illustrated in Les très riches heures de la cour de Chine, Paris, 2006, no.24, depicting the Yongzheng emperor ploughing the first furrow when offering sacrifice at the Altar to the God of Agriculture, Xiannong tan.Buffalos were also employed in literati paintings, to evoke a bucolic, idealised existence in the countryside. This fitted in with the Confucian ideal of a world in peace and harmony with peasants - the second highest in the Confucian social hierarchy after scholars - contributing to the wealth of the empire. The buffalo in turn, fed into a more mythical or spiritual side, recalling both Buddhist and Daoist preoccupation with simplicity, retreat, and the subjugation of the ego. The philosopher Laozi, is frequently represented in paintings and sculpture riding a buffalo.Another aspect of the buffalo is its guardian function, stemming from the legend of the emperor Yu of the Xia dynasty casting an iron ox to subdue floods. This interpretation was most notably represented in the huge bronze ox commissioned by the Qianlong emperor in 1755 and placed gazing out over the Kunming Lake at the Summer Palace. Depicted in jade rather than bronze, with an eternally placid yet watchful expression, the present jade water-buffalo was also meant to observe and protect its owner.See a related jade buffalo, Qianlong mark and period, illustrated in Jade: Ch'ing Dynasty Treasures, Taipei, 1997, no.151. A large green jade buffalo, Qianlong, is also illustrated in The Woolf Collection of Chinese Jade, London, 2003, no.99. A further related green jade buffalo, 17th/18th century, is illustrated by Gowills, Jade of the East, New York, 1972, p.112, p.177, and was later sold at Tajan, Paris, 22 October 2011, lot 16.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 120
A RARE PALE GREEN JADE 'TWIN-FISH' WASHERQianlongExquisitely carved around the exterior with archaistic motifs, with tall flaring sides rising to a lipped rim incised with a geometric-pattern band, after Western Zhou dynasty bronze prototypes, supported on four ruyi feet, the interior carved in high relief with a pair of fish in mirror image, the stone of pale green tone with dark-brown patches. 17cm (6 3/4in) diam.Footnotes:清乾隆 玉雕雙魚洗Provenance: Christie's London, 8 April 1981, lot 237James 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237James 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 twin-fish symbol is considered as one of the most auspicious motifs of the Eight Buddhist Emblems, bajixiang, representing freedom from restraint as well as the wish for marital bliss, prosperity and an abundance of good luck. As fish are reputed to swim in pairs and are known for their reproductive powers, the double-fish also signifies the joys of union and numerous offspring.The Qianlong emperor favoured forms and designs inspired by antiquity. The archaistic designs on the present bowl were inspired by archaic Zhou dynasty bronze ritual food vessels, and the design of fish can be seen on Eastern Zhou dynasty bronze pan vessels, with twin-fish appearing more frequently from the Song dynasty onwards. Compare with a larger pale green jade twin-fish basin, dated 1786, with similar fish design, illustrated by M.Knight, He Li, and T.Tse Bartholomew, Later Chinese Jades: Ming Dynasty to Early Twentieth Century from the Asian Art Museum of San Francisco, San Francisco, 2007, p.180, pl.181; see also two larger jade twin-fish basins carved with double fish in mirror image, Qianlong, in the National Palace Museum, Taipei, illustrated by Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pls.7 and 9.See an Imperially-inscribled pale green jade 'twin-fish' washer, Qianlong mark and period, which was sold at Christie's New York, 20 March 2019, lot 806.For further information on this lot please visit Bonhams.com
Lot 121
A RARE ARCHAISTIC SPINACH-GREEN JADE TRIPOD INCENSE BURNER AND COVER, DINGQianlongExpertly carved supported on three short cabriole feet issuing from mythical beast-heads, carved around the exterior with archaistic taotie motifs rising to an elegantly waisted rim flanked by a paid of S-shaped handles, the domed cover similarly carved with dense floral scroll and surmounted by a coiling dragon finial, the stone of dark green tone with striations, hongmu stand. 18cm (7in) wide (3).Footnotes:清乾隆 碧玉雕仿古紋龍鈕三足蓋爐Provenance: William Clayton Ltd., London, 24 October 1977James 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：倫敦古董商William Clayton Ltd.，1977年10月24日James 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。Inspired by the shape and decoration of archaic bronze food vessels of the Zhou dynasty, the present vessel is a fine example of the stylistic developments during the 18th century inspired by the wishes of the Qianlong emperor. Aiming to 'restore the ancient ways', the emperor wished to reinstate the intrinsic qualities of simplicity, sincerity and happy exuberance of ancient culture. For this purpose, the emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' (Xiqing gujian 西清古鑑), which served as sources of designs for the production of contemporary vessels. See Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.49-50.See a similar spinach-green jade tripod incense burner and cover, Qing dynasty, illustrated in Jasper Wares of Qing Dynasty Collected by the Palace Museum and Manasi, Beijing, 2014, p.140, no.49. Compare with a related spinach-green jade tripod incense burner and cover, Qianlong, illustrated by S.C.Nott, Chinese Jade throughout the Ages, Rutland, 1971, pl.CXVIII; see also a related spinach-green jade incense burner and cover, Qianlong, illustrated by R.Keverne, ed., Jade, London, 1992, p.163, fig.89.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 151
A VERY RARE AND LARGE PALE WHITE GREEN AND BROWN-STREAKED JADE VASE, HUMing DynastyThe vase of flattened pear shape rising from a spreading stepped foot to an everted rim, the body intricately carved on each side with a forward-facing chilong with long mane, surrounded by archaistic motifs and taotie masks, flanked by a pair of mythical-beast loop handles, the stone of pale green tone with russet and milky-white veins. 18.5cm (7 1/4in) high.Footnotes:明 青白玉浮雕仿古紋鋪首耳尊Provenance: Dunt King, Hong Kong, November 1956Bluett & Sons Ltd., London, 13 November 1956R.H.R Palmer, MC DL (1898-1970), collection no. 187, label 'R.H.R.P 187', and thence by descentBonhams London, 11 June 2003, lot 17來源：香港古董商仁德行，1956年11月倫敦古董商Bluett & Sons Ltd.，1956年11月13日R.H.R. Palmer（1898-1970）舊藏，藏品編號187，收藏標籤「R.H.R.P 187」，並由後人保存倫敦邦瀚斯，2003年6月11日，拍品編號17Reginald Howard Reed Palmer (1898-1970), Chairman of Huntley and Palmer 1948-1963, was educated at Eton. He was Sheriff of Berkshire in 1935 when his address was Hurst Grove, near Reading. He started collecting Chinese works of art when he married in 1924, much helped by his wife, who had an equally good eye, especially for jades, and they went on to build a collection consisting of Ming and Qing porcelains, jade, ivory and lacquer. He was also an active member of the Oriental Ceramic Society and regularly lent his pieces for exhibition. Skilfully carved in low relief with the surface finished to a fine and even sheen, this vase represents the archaistic style that grew in popularity in jade carving during the Ming dynasty. The academic trend known as the 'search for evidence' (kaozheng 考證) movement began in the early 17th century. Although this movement originated in a renewed scholarly interest in ancient texts and inscriptions on archaic bronzes, as literati sought a more empirical approach to understanding their ancient heritage, it led to a greater fascination for decorative designs adopted from ancient bronzes too. The shape of the present lot derives from archaic bronze hu vessels, while the combination of decorative elements, including the taotie masks and animal-head handles, are also taken from archaic bronze motifs. For example, the intertwined dragons are reminiscent of designs found on archaic bronze wares from the Eastern Zhou dynasty, such as a facetted hu and cover, illustrated by J.So, Eastern Zhou Ritual Bronze from the Arthur M.Sackler Collections, New York, 1995, pl.37. These archaic motifs are juxtaposed with new designs, such as the stylised rendering of the creature with neatly combed and parted hair, to result in a highly original piece that suited the aesthetic and taste for things qi (奇, variably translated as 'original', 'unusual', 'marvellous' or even 'strange' and 'eccentric'). See K.P.Burnett, Dimensions of Originality: Essays on Seventeenth Century Chinese Art Criticism, Hong Kong, 2013. Vases decorated with this design are unusual and no other closely-related example appears to have been published. Compare with a slightly smaller vase of similar hu shape, decorated on the body with a taotie mask, in the Palace Museum, Beijing, illustrated in The Compendium of Collections in the Palace Museum: Jade, vol.7, Ming Dynasty, Beijing, 2011, pl.19. A creature with similarly rendered hair is found on early Ming lacquerware, as seen on a box attributed to the Yongle reign, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, pl.25.For further information on this lot please visit Bonhams.com
Lot 161
A JADE, TURQUOISE AND CORAL-INLAID GILT-BRONZE-MOUNTED DAGGER AND SCABBARDLate Qing DynastyWith broad slightly curved single-edged blade cut with a narrow fuller along the back on each side, the hilt comprising shaped jade guard and mottled green/grey nephrite grip of khanjar form, in its gilt scabbard with elaborate mounts variously embossed, pierced and chased in relief with foliage inhabited by chilong set with turquoise and other stones, the suspension mount formed in the round as a chilong and carrying two rings for suspension. 41cm (16 1/8in) long. (2).Footnotes:清晚期 痕都斯坦式玉柄匕首 及鎏金嵌寶鑲玉板鞘Provenance: a European private collection來源：歐洲私人收藏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 166
A SANG-DE-BOEUF SQUARE PEAR-SHAPED VASE, FANGHUGuangxu incised six-character mark and of the period The form inspired by the early bronze prototypes, with indented corners, applied with rectangular lug handles, and set on raised feet, moulded to each side with peach -shaped panels, covered in a lustrous red glaze with darker striations and paling to a creamy-blue tone at the edges, handles and interiors, attached to late ormolu mount stand. 36cm (14 1/4in) high. Footnotes:清光緒 紅釉貫耳尊「大清光緒年製」楷書模款See for a vase of similar form, Guangxu incised six-character mark and of the period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Shanghai, 1999, p.207, no.186. See also a related pair of flambé-glazed rectangular vases, Guangxu incised six-character mark and of the period, which was sold at Bonhams London, 2 November 2021, lot 348.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 19
AN EXCEPTIONALLY RARE LARGE MOTTLED GREY AND BROWN JADE 'ARROW' VASE, TOUHUYuan Dynasty Smoothly and simplistically carved as a vessel of flattened pear shape supported on a spreading foot with the neck flanked by a pair of tubular handles, the stone of mottled grey, black and pale green tone, wood box. 28.5cm (11 1/4in) high (2).Footnotes:元 青玉貫耳壺Provenance: Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.JS3)Bluett & Sons Ltd., LondonProfessor Peter H. Plesch (1918-2013) and Mrs Traudi Plesch OBE (1921-2013), acquired from the above in June 1978 for £15,000 Bluett & Sons Ltd., LondonA distinguished English private collectionPublished and Illustrated: 'Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe', Apollo, London, March 1957, fig.IIIBluett & Sons Ltd., Oriental Art, II, London, 1991, no.18 來源：劍橋大學菲茨威廉博物館東方藝術部名譽主任，Cunliffe勛爵（1899-1963）舊藏（藏品編號JS3）倫敦古董商Bluett & Sons Ltd.英國Peter Plesch教授（1918-2013）與大英帝國官佐勳章獲勳人Traudi Plesch伉儷舊藏，於1978年6月3以15,000英鎊購自Bluett & Sons倫敦古董商Bluett & Sons Ltd.英國顯赫私人收藏出版著錄：〈Chinese Works of Art in English Collections: 1 - Early Jades and Metal-work in the Collection of the Rt. Hon. Lord Cunliffe〉，《Apollo》，倫敦，1957年3月，圖版編號III倫敦古董商Bluett & Sons，《Oriental Art》，II，倫敦，1991年，編號18The present lot has several distinguishing features that make it remarkable and attest to the skill and taste of both jade carvers and patrons in the Yuan dynasty. Firstly, it is carved from a particularly large piece of jade. Secondly, its monumental scale is further enhanced by the simplicity and complete absence of any decoration, which leaves the surface of the stone to speak for itself. Thirdly, despite the simplicity of form, the greatest care has been taken to carve internally the tubular handles and to finish the accurately shaped interior of the vessel and the area within the foot ring. The natural markings are such as to have appealed especially to scholarly taste. Indeed, such jades spoke eloquently of the subtle taste to let nature speak for itself, and that it was merely the job of the craftsmen to enhance nature's work. Scholarly taste is further encapsulated by the shape of the vase, which is modelled after archaic bronzes. Admiration for antiques and archaic bronzes was especially strong during the Southern Song period, and bronze vessels were produced as early as the 12th/13th century and into the Yuan period. See for example two archaistic bronzes, Yuan dynasty, illustrated in The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, New York, 2010, pp.18-19. See also an archaistic bronze vase with tubular handles, Yuan dynasty, of similar form to the present lot, illustrated in ibid., p.290, where it is noted that vessels with tubular 'ears' on the sides are a reference to the ancient game of touhu, a darts-like game but played by throwing arrows into the vase or ears. Compare a related jade vessel of this form, one with similar tubular handles, Yuan dynasty, illustrated in Zhongguo meishu quanji, vol.9, Beijing, 1986, nos.270. See also a jade vase of similar form but with ring handles, Song/Yuan dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 1995, pp.140-141, no.114.For further information on this lot please visit Bonhams.com
Lot 199
A GILT-BRONZE FIGURE OF MAITREYATibet, 16th/17th centuryThe deity expertly cast seated in vajrasana on a double-lotus base, both hands in dharmacakra mudra, two lotuses flowering along his upper arms, one cast with the kalasha, clad in a dhoti and adorned with jewellery and sashes, the face with gentle smile and elongated eyes surmounted by a jewelled tiara, the base sealed. 23.5cm (9 1/4in) high.Footnotes:十六/十七世紀 銅鎏金彌勒菩薩像Provenance: Mrs. Inger Lissanevitch (1928-2013), and thence by descentThe items presented here were originally part of a collection belonging to Inger Lissanevitch (1928-2013), wife of Boris Nikolayevich Lissanevitch (1905–1985) a famous ballet dancer, hotelier and restaurateur and thence by descent. Boris helped pave the way for tourism in Nepal, when he opened the country's first hotel, the Hotel Royal, and later when he created the Yak & Yeti Hotel and Restaurant. His biography was reported in the book 'Tiger for breakfast' by Michel Peissel. Inger lived in Kathmandu, Nepal, from the early 1950s until her death in 2013. During that time she collected many pieces of Tibetan and Himalayan art, jewellery and antiques.來源：Inger Lissanevitch（1928-2008）夫人舊藏，並由後人保存迄今此組拍品來自著名芭蕾舞演員、酒店和餐飲業經營者Boris Nikolayevich Lissanevitch（1905-1985）之妻，Inger Lissanevitch（1928-2013）舊藏，並由後人保存迄今。 Boris是尼泊爾旅遊業的開拓者，他曾開設了該國首家酒店「Hotel Royal」，後又創立了Yak & Yeti酒店及餐廳。 Michel Peissel所著《Tiger for breakfast》一書中記敘了他的生平。自二十世紀五十年代初起，Inger夫人一直生活在尼泊爾加德滿都，並收藏了許多西藏及喜馬拉雅藝術品、珠寶和古董，直至其2013年逝世。For further information on this lot please visit Bonhams.com
Lot 200
A LARGE GILT-BRONZE REPOUSSÉ FIGURE OF MANJUSHRIMongolia, 18th/19th century Seated in dhyanasana on a lotus pedestal, the hands raised in dharmachakra holding the tips of lotus stems blossoming at the shoulders supporting his attributes of a sword and a sutra, clad in an elegant dhoti incised at the hems, falling in neat folds in the front, adorned with elaborate necklaces and earrings, the hair neatly tied in a high chignon above the serene face framed by a five-peak headdress. 40cm (15 3/4in) high. (8).Footnotes:蒙古，十八/十九世紀 銅鎏金錘揲文殊菩薩像Provenance: Mrs. Inger Lissanevitch (1928-2013), and thence by descentThe items presented here were originally part of a collection belonging to Inger Lissanevitch (1928-2013), wife of Boris Nikolayevich Lissanevitch (1905–1985) a famous ballet dancer, hotelier and restaurateur and thence by descent. Boris helped pave the way for tourism in Nepal, when he opened the country's first hotel, the Hotel Royal, and later when he created the Yak & Yeti Hotel and Restaurant. His biography was reported in the book 'Tiger for breakfast' by Michel Peissel. Inger lived in Kathmandu, Nepal, from the early 1950s until her death in 2013. During that time she collected many pieces of Tibetan and Himalayan art, jewellery and antiques.來源：Inger Lissanevitch（1928-2008）夫人舊藏，並由後人保存迄今此組拍品來自著名芭蕾舞演員、酒店和餐飲業經營者Boris Nikolayevich Lissanevitch（1905-1985）之妻，Inger Lissanevitch（1928-2013）舊藏，並由後人保存迄今。 Boris是尼泊爾旅遊業的開拓者，他曾開設了該國首家酒店「Hotel Royal」，後又創立了Yak & Yeti酒店及餐廳。 Michel Peissel所著《Tiger for breakfast》一書中記敘了他的生平。自二十世紀五十年代初起，Inger夫人一直生活在尼泊爾加德滿都，並收藏了許多西藏及喜馬拉雅藝術品、珠寶和古董，直至其2013年逝世。See a related but standing gilt-bronze repoussé figure of Maitreya, Mongolia, circa 1800, which was sold at Christie's New York, 23 March 2010, lot 260. See also a related repoussé gilt-bronze figure of Tara, Mongolia or China, late 18th century, which was sold at Christie's New York, 20 March 2019, lot 673.For further information on this lot please visit Bonhams.com
Lot 205
A RARE GILT-BRONZE FIGURE OF SHADBHUJA MAHAKALATibet, 18th centuryThe wrathful deity expertly cast wearing a garland of heads beneath his bulging belly, his six arms each holding an attribute, with wild hair behind a tiara of skulls, his back with an elephant skin, striding in alidhasana on a prostrate elephant-headed Vignataka, all raised on a lotus-petal plinth, wood stand. 19cm (7 1/2in) high. (3).Footnotes:十八世紀 銅鎏金六臂大黑天像Provenance: a French private collection, formerly owned by the Head of Customs in Vietnam circa 1940's-1950's, by repute 來源：據傳二十世紀四、五十年代，前越南海關負責人舊藏法國私人收藏Shadbhuja, a form of Mahakala, belongs to a category of male Tantric Buddhist deities. The common function of Mahakala is as a protector (Dharmapala) deity and is specifically the primary Wisdom Protector of Himalayan and Tibetan Buddhism. In some cases, Mahakala can also be a meditational deity (ishtadevata) in the highest Anuttarayoga Tantras. However, he is typically of wrathful appearance following the Indian model of a Raksha demon. Compare with a larger closely-related bronze of the same subject in the Royal Ontario Museum, Toronto, illustrated by M.Rhie and R.Thurman, Wisdom and Compassion, New York, 1991, p.295, no.111. Compare also with a gilt-bronze figure of Mahakala in the Prague National Gallery, which displays nearly identical modelling of the hair, face, jewellery and accoutrements (Himalayan Art Resources, no.57657).See a similar gilt-bronze figure of Mahakala, 18th century, which was sold at Christie's New York, 15 March 2017, lot 203.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 43
A RARE SET OF FOUR PAINTED POTTERY FIGURES OF GAMBLERSHan DynastyEach well modelled playing with dice in animated poses, kneeling and gesticulating with their hands, playing with dice, painted in mauve, red, and white pigments. The tallest, 20cm (7 7/8in) high. (4).Footnotes:漢 彩繪灰陶博戲俑 一組四件Provenance: T.T.Tsui Collection, Hong KongSpink & Son Ltd., London, 1999Jonathan Tucker Antonia Tozer, Asian Art, London, 2001An English private collectionPublished and Illustrated: Splendour of Ancient Chinese Art: Selections from the Collection of T.T.Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, no.6. The Tsui Museum of Art: Chinese Ceramics I, Neolithic to Liao, Hong Kong, 1993, no.25來源：香港徐展堂舊藏倫敦古董商Spink & Son Ltd.，1999年倫敦古董商Jonathan Tucker Antonia Tozer，2001年英國私人收藏出版著錄：《海內外徐展堂中國藝術館藏品選粹》，香港，1996年，編號6《徐氏藝術館：陶瓷I·新石器時代至遼代》，香港，1993年，編號25Gambling has a long history in China and even Confucius purportedly said that 'people who gamble are better than those who have nothing to do' (Book XVII, 22). Since then, Confucianism was seen as having a relatively lax attitude towards the playing of games. Liubo (六博), involving two players, was particular popular during the Han dynasty. See for example, a pair of seated earthenware figures playing on a liubo board game, Eastern Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.1992.165.23a, b). By the end of the Eastern Han period, the skill-dependent Liubo faded out and was replaced in popularity by a new, chance-dependent game called 'chupu' (樗蒲). The origin of chupu is unknown but may have begun as early as the Spring and Autumn period. The game did not require much cognitive skill and relied more on chance factors with dice tossing. It attracted lots of spectators who yelled and cheered during the game, with bets being put on the dice. Although we cannot say for certain what game the gamblers in this present lot are playing, their animated gesticulations imply that it is exciting and quick with much chance involved. Compare with four bronze weights in the form of game players, Han dynasty, in the Metropolitan Museum of Art, New York (acc.no.2003.522.4). See also a related group of four painted pottery Liubo games figures, Han dynasty, in the Virginia Museum of Fine Arts, Richmond.For further information on this lot please visit Bonhams.com
Lot 80
A BRONZE 'MYTHICAL BEAST' MIRRORHan DynastyCrisply cast with a large central knop, surrounded by a band or archaistic motifs of mythical beasts interspersed by four smaller raised bosses, surrounded by further bands of geometric designs, the reverse plain. 11.8cm (4 1/2in) diam.Footnotes:漢 銅瑞獸紋鏡Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。See a related bronze 'mythical beast' mirror, Eastern Han dynasty, which was sold at Sotheby's New York, 28 September 2021, lot 793.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 81
A RARE LARGE BRONZE 'LION AND GRAPEVINE' MIRRORTang DynastyCast with a central knop, encircled by a band of six recumbent lions amongst fruiting grape vines, surrounded by a band with further lions and grape vine, the reverse plain and polished to a high sheen. 17.8cm (7in) diam.Footnotes:唐 海獸葡萄紋鏡Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。For a similar example, see J.Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, no.55, where the author suggests dating the mirror to the late 7th Century, based upon a similar example found in the tomb of Dugu Shizhen, at Xian and dated to 698; and for another 'lion and grapevine' bronze mirror, Tang dynasty, see the Royal Academy of Arts International Exhibition of Chinese Art, London, 1935, no.669.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 82
TWO BRONZE 'LION AND GRAPEVINE' MIRRORSTang DynastyThe larger crisply cast with a central crouching mythical beast knop, encircled by a band of four recumbent lions amongst fruiting grape vines, surrounded by a band with birds and further grape vine, the reverse plain and polished to a high sheen, box, the smaller similarly cast. The larger, 12.1cm (4 3/4in) diam. (3).Footnotes:唐 海獸葡萄紋鏡 一組兩件Provenance: Dr Walter Rieder (1890-1986)Dr Walter Rieder (1890-1986) served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialised in educational, literary and philanthropic work and Dr Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr Rieder forged with local artists, some of whom he knew from his teaching activities. Dr Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.來源：Walter Rieder博士（1890-1986）舊藏1930年10月至1951年12月間，Walter Rieder博士（1890-1986）於山東青島的瑞士東亞使團 (SOAM) 任職。該組織專注於教育、文學和慈善工作，但Rieder博士並非作為傳教士，而是作為一名教師，教授高中數學、物理及科學科目，並以促進'文化間交流理解'和'搭建東西方文化的橋樑'為己任。在其旅居青島期間，Rieder博士大量收藏了各類中國藝術品。通過本次拍賣所呈現的拍品，我們得以一窺二十世紀後半葉的青島古董市場。Rieder博士的藏品不僅展示了他對中國藝術的熱情，還反應了其任教期間與當地的文人逸士建立的個人友誼。 Rieder博士還對其藏品進行了學術研究，並對很多物品留下了詳細筆記。也因為此，這些藏品也成為了Rieder博士了解中國歷史和文化的門戶。本次上拍的拍品曾於2006年與2018年於瑞士因特拉肯的美術館展出。For a similar example of a lion and grapevine mirror, Tang dynasty, see J.Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, no.55, where the author suggests dating the mirror to the late 7th Century, based upon a similar example found in the tomb of Dugu Shizhen, at Xian and dated to 698; and for another 'lion and grapevine' bronze mirror, Tang dynasty, see the Royal Academy of Arts International Exhibition of Chinese Art, London, 1935, no.669.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
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