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Click here to subscribeBRONZE 'LUDUAN' INCENSE BURNER QING DYNASTY, 19TH CENTURY cast seated on hind legs with straight front legs supporting its body, the mythical beast with its head held high up, flaming brows above bulging eyes, the hollow body serves as container, perforated between snarling teeth (Dimensions: 19cm wide) (Qty: 1)(19cm wide)Qty: (1)
BRONZE RECTANGULAR CENSER QING DYNASTY of tapering rectangular shape standing on four cornered-feet incised with taotie masks, the exterior with raised crashing waves and mythical beasts, flanked by horned-mythical beasts as looped handles, the plain interior engraved with archaic inscriptions (Dimensions: 23cm wide) (Qty: 1)(23cm wide)Qty: (1)
GILT BRONZE FIGURE OF BAJRA-VIDARANA YONGLE MARK BUT 20TH CENTURY cast seated in dhyanasana on a double lotus base, holding a crossed-vajra to his right hand raised before chest, left with drilbu tucked against his hip, the bodhisattva wears a dhoti, heavily adorned with jewelled necklets, an elaborate tiara surrounds his high chignon topped with finial, the figure richly gilded overall, the front of the lotus seat incised with a line of six-character Yongle mark, the base engraved with a crossed vajra (Dimensions: 27cm high) (Qty: 1)(27cm high)Qty: (1)
GILT BRONZE TRIPOD STAND QING DYNASTY, 18TH-19TH CENTURY elegantly cast in the form of three elongated dragons supporting a circular stand base with a beaded ring, each dragon finely depicted with a horned head, upturned snout, arched body and swirling tail forming the feet of the stand, with well-preserved gilding, with an original cylindrical cloth box, on the inner rim incised with an apocryphal six-character mark 'Da Ming Yong Le Nian Shi (Executed in the Yongle reign of the Ming dynasty)',(Dimensions: 14.5cm high) (Qty: 1)(14.5cm high)Qty: (1)Provenance: Formerly in a Private European collection, acquired in 1970s
SILVER-INLAID GILT BRONZE CYLINDRICAL VASE QING DYNASTY, 17TH-18TH CENTURY of Hu Wenming style, cylindrical form, the foot and mouth rims adorned with key fret band with silver inlaid, the body with fading gilded peony on relief reserved on trellis ground (Dimensions: 10.5cm high, 282g) (Qty: 1)(10.5cm high, 282g)Qty: (1)Footnote: Provenance: Private France collection, Gourdon
BRONZE TRIPOD CENSER QING DYNASTY, 18TH-19TH CENTURY of compressed globular form with a pair of flared handles, supported on three conical feet, the sides incised with dragons chasing flaming pearls with the dragon head in high relief, the underside cast with a four-line, sixteen-character apocryphal Xuande mark within double squares, with a fitted wooden stand (Dimensions: 16.6cm diameter) (Qty: 1)(16.6cm diameter)Qty: (1)Footnote: Provenance: Private UK Collection, from Chris. L Collection
GILT-BRONZE AND HARDSTONE INLAID 'LUDUAN' INCENSE BURNER 19TH-20TH CENTURY cast seated with two straight front limbs supporting its body, the mythical beast with horned head, flared nostrils and wide-opened mouth, the body incised with details and inlaid with various colourful hardstones (Dimensions: 21cm high) (Qty: 1)(21cm high)Qty: (1)
JADEITE COURT NECKLACE 19TH-20TH CENTURY comprising one hundred and eight jadeite beads, every twenty seven spaced with larger yellow beads, the main tassel with a translucent purple plaque, purple beads further on auxiliary tassels and suspending agate pendant drops, with a gilt bronze circular box decorated with dragons on the cover (Dimensions: 1.1cm diameter each bead, main jewel drop 40cm,) (Qty: 1)(1.1cm diameter each bead, main jewel drop 40cm,)Qty: (1)
AUBERGINE-GLAZED0 'HU' VASE QIANLONG MARK BUT LATER of archaic bronze 'hu' form, the tapering body and waisted neck carved in low relief with stylised mythical beasts in symmetrical patterns, flanked with a pair of loop ears, covered overall with rich aubergine coloured glaze (Dimensions: 22.2cm high) (Qty: 1)(22.2cm high)Qty: (1)
LARGE OX-BLOOD-GLAZED BOTTLE VASE QING DYNASTY, 18TH CENTURY the globular body rising to a long cylindrical neck, covered overall with an ox-blood glaze, the mouth and base mounted bronze rococo style decoration, converted to lamp stand (Dimensions: vase: 33.5cm high) (Qty: 1)(vase: 33.5cm high)Qty: (1)Footnote: Provenance: Private UK collection
PAIR OF IMARI VASES WITH GILT BRONZE MOUNTS QING DYNASTY each bulbous body supported on a tall splayed foot extending to a slender neck, the body decorated with floral patterns in overglaze iron red paint within tear-drop shaped cartouches, the rest of the body applied with a layer of blue glaze, overall highlight with well-preserved gilt paint, the vase mounted on an elaborate European style gilded bronze stand, spout and elegantly arched handle (Dimensions: vase: 20cm high; 28cm high overall with mounts) (Qty: 2)(vase: 20cm high; 28cm high overall with mounts)Qty: (2)
SILVER-MOUNTED JIAN-STYLE BROWN-GLAZED BOWL SONG DYNASTY potted with deep rounded sides rising from a short foot to a silver-mounted rim, covered with a thick dark glaze suffused with irregular bronze markings, stopping above the foot exposing the dark stoneware body (Dimensions: 11.6cm diameter) (Qty: 1)(11.6cm diameter)Qty: (1)Footnote: Provenance: Private Taiwanese collection, formerly in a private Japanese collection
Y IVORY-INSET BRONZE OKIMONO OF A CARPENTER MEIJI PERIOD the figure leaning forwards and balancing on a raised trunk, he holds a large saw cutting through the elevated end, his clothes cast in bronze, flesh inset with finely carved ivory (Dimensions: 29.5cm long) (Qty: 1)(29.5cm long)Qty: (1)
KHORASAN BRONZE INCENSE BURNER IN THE FORM OF A COCKEREL PERSIA, 12TH CENTURY mounted on a stand, with pierced openwork decoration on its chest and wings consisting of geometric designs, incised naturalistic detailing on its back, a short spout protruding from its lower back (Dimensions: 29.5cm high) (Qty: 1)(29.5cm high)Qty: (1)
An Arita coffee ewer and an Imari coffee ewerEdo period (1615-1868), 17th/18th centuryConceived after a Dutch model probably in metal, each of a tapering cylindrical form with a low cover and pointed knop, each with a hole on one side for a tap to be fitted in Europe, the first painted in underglaze blue with exotic long-tailed birds perched among pomegranate, with European gilt bronze mounts, 37cm (14¾in) high; the second on tripod feet painted in underglaze blue and iron-red and gilt enamels with lobed panels enclosing different bird-and-flower scenes, 33cm (13in) high. (3).For further information on this lot please visit Bonhams.com
A bronze tigerBy Atsuyoshi for the Maruki Company, Meiji era (1868-1912), late 19th/early 20th centuryShown striding forward with its long tail stretching out behind, its mouth wide open and growling, the stripes on its body delineated in subtly toned patination, signed on its belly in an oval reserve Atsuyoshi saku above a square seal Maruki shachu seisaku; with a separate large oval wood stand. The tiger: 24.1cm x 53cm (9½in x 20 7/8in); the wood stand: 51.2cm (20 1/8in) long. (2).For further information on this lot please visit Bonhams.com
A gilt-bronze tall figure of a warriorMeiji era (1868-1912), late 19th/early 20th centuryCast in the style of Miyao Eisuke, standing with bare feet apart and holding aloft in one hand a hexagonal stand on top of which rests a vessel (lacking), the figure's robes engraved with dragons and butterflies, and covered with a do (breast plate) elaborately tied at the waist and chest, suspended with a slain wolf's head, a long, windswept scarf trailing all around his body, unsigned; affixed to a rectangular wood stand. The figure: 59cm (23¼in) high; total height: 63.5cm (25in) high.For further information on this lot please visit Bonhams.com
A massive bronze okimono of a prowling tiger on an en-suite bronze standBy Takahashi Ryoun, Meiji era (1868-1912), late 19th/early 20th centuryThe tiger shown striding forward with its long tail stretching out behind, its mouth wide open and growling, the stripes on its body finely delineated in low relief, on a removable bronze stand simulating rockwork, the tiger unsigned; the stand signed with a seal Takahashi Ryoun. The tiger: 39.5cm (15½ in) high and 113cm (44½in) long; the stand: 115.5cm (45½in) long. (2).For further information on this lot please visit Bonhams.com
A bronze group of an elephant attacked by two tigersBy Genryusai Seiya, Meiji era (1868-1912), late 19th/early 20th centuryThe large trumpeting beast modelled fending off two snarling tigers, stamping one tiger underfoot at the front, whilst another attacks from behind clambering over his back, the mammal's skin carefully textured to resemble its crinkled skin, signed on the elephant's belly Seiya saku (Made by Seiya) within a rectangular reserve. 19cm x 29.5cm (7½in x 11 5/8in).For further information on this lot please visit Bonhams.com
A gilt-bronze okimono of a pheasant and snakeBy Genryusai Seiya, Meiji era (1868-1912), late 19th/early 20th centuryStanding with its head lowered as it spies a snake coiled around its right legs, resting on an unrelated gnarled separate wood stand; signed on the pheasant's belly within a gilt rectangular reserve Seiya iru (Cast by Seiya). The pheasant: 19.5cm x 40cm (7 5/8in x 15¾in), the wood stand: 6cm x 64cm (2 3/8in x 25 3/16in). (2).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
A pair of bronze egretsBy Sano Takachika, Meiji era (1868-1912), late 19th/early 20th centuryEach egret realistically modelled with their heads lowered and eyes inlaid in gilt with black pupils, one shown holding a fish in its beak, 21cm (8¼in) high, the other 16.5cm (6½in) high, each bird signed on its belly Takachika within a rectangular reserve; each fixed on a flat silver later added stand. (2).Footnotes:This accomplished artist may have started his career in the regional metalworking center of Takaoka, but by 1894 he was a member of the Tokyo Chokokai (Tokyo Carvers' Association) and a set of figures of a heron and a crow by him was awarded a Second Class Diploma at the 27th Spring Exhibition of the Nihon Bijutsu Kyokai (Japan Art Association). The award was recorded in the third issue of Bijutsu gaho (Magazine of Art), an authoritative bilingual journal founded in the wake of Japan's great success at the World's Columbian Exhibition, which commented that the 'workmanship of the heron, from its ruffled plumage to the scared or angered expression of its eyes is faultless and that of the crow . . . is equally so.' The same lifelike qualities can be seen in the present pair of egrets, as well as in three works by Takachika in the Khalili Collection; another work by Takachika, a silver eagle and bronze snake on the trunk of a tree, was in the famous Japanese collection formed by the English connoisseur Michael Tomkinson and published in 1898.Reference:Bijutsu gaho (The Magazine of Art), 1/5 (October 25, 1894), 'Adjustable Iron Statue of Hawk', accessible at https://www.tobunken.go.jp/materials/ngbvol/001-05.Oliver Impey and Malcom Fairley, The Nasser D. Khalili Collection of Japanese Art, vol.2, Metalwork Part I, London, The Kibo Foundation, 1995, cat. nos. 120–122.Takaoka-shi Bijutsukan (Takaoka City Museum of Art), 'Josetsuten (Dai53ki) 'Takaoka no waza to bi: kinko, shitsugei' shuppin risuto (53rd Permanent Exhibition: 'Skill and Beauty of Takaoka: Metalwork and Lacquer' Exhibit List)', March 2012.Michael Tomkinson, A Japanese Collection, London, George Allen, 1898, p.65.For further information on this lot please visit Bonhams.com
A Bronze cylindrical vase in the form of a bambooBy Tamura Seiun, Meiji (1868-1912) or Taisho (1912-1926) era, early 20th centuryCarved in high relief with a tree frog crawling up at the front towards the rim; signed on the underside with an impressed seal Tamura Seiun. 29cm (11 3/8in) high.Footnotes:Known to be active between Meiji to Taisho era in Tokyo, not much else is known about the artist but Seiun is most likely the go for Tamura Seitaro who was a pupil of a metal worker Nishimura Unsho (1859-1912).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
A bronze baluster vaseAttributed to Kibundo Shohei (1813–1892), Meiji (1868-1912), late 19th centuryThe reddish-brown body applied with a tree frog in high relief of bronze crawling up one side towards the top of the vase as it spies a spider on the rim, signed on the base with chiselled signature Kibun tsukuru; with a wood storage box inscribed on the lid Seidoko-shiki kabin (Flower vase in the style of archaic Chinese bronze vase) with a seal, inside the lid signed Kibundo Shohei tsukuru with a seal Kasetsu Nihon Biwako no higashi (Our family is clumsily located to the east of Lake Biwa in Japan). 25.5cm (10in) high. (2).Footnotes:The founder of the Kibundo Company, Kibundo Shohei (also known as Hatano Shohei) was apprenticed at age 11 to the Ryubundo Company of Kyoto, where he studied the art of casting in bronze and iron for 17 years before setting up his own business. After much disruption due to the political upheavals of the late Edo period, he finally settled in the Notogawa district (today's Higashi-Omi City) near Lake Biwa.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
A bronze slender vaseBy Hasuda Shugoro (1915-2010), Showa era (1926-1989), 20th centuryCast in a slim, abstract form, with a flat top and angled spout rim at one side meeting at an indented front upper section on the shoulder and cut away below, adjacent to engraved inset lines, signed just above the foot with chiselled characters Shu; with a wood tomobako storage box inscribed Chudo kaki (Cast bronze flower vase), signed inside the lid Shugoro with seal Shugoro. 32cm (12½in) high. (2).Footnotes:Born in Kanazawa, Hasuda Shugoro is considered one of the principal modernist artists working in bronze during the post-war period. He studied metal craft under Takamura Toyochika (1890 -1972) and in 1960 set up Enshin (The Heart of the Circle), an art crafts group, followed in 1962 by Gendai Kogei Bijutsuka Kyokai (Association for Modern Artist Craftsmen). His first national award was at the Fifth Nitten in 1949 and he subsequently received the Hokuto Award (1953) among many other prizes. In 1987 he was honoured as a Person of Cultural Merit by the Japanese government and in 1991 he was decorated with the Order of Cultural Merit.For a very similar vase by the artist, see Hasuda Shugoro, Hasuda Shugoro kinzoku zokei (Shugoro Hasuda- Metall Plastik), Kyoto, Kyoto Shoin, 1981, p.40, no.12.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
A silvered-bronze model of an eagleBy Masatsune, Meiji era (1868-1912), late 19th/early 20th centuryNaturalistically rendered perched on a detachable gnarled and twisted stand formed from a section of root-wood, its head lowered, its wings outstretched in preparation for flight, the beak silvered and the eyes of shakudo; signed beneath the tail in a rectangular reserve Masatsune iru. Overall height: 71.5cm (28 1/16in); wing-span: 64cm (25¼in) wide; the stand: 40.5cm (15 15/16in) high. (2).For further information on this lot please visit Bonhams.com
A gold lacquer and metal-inlaid four-case inroBy a member of the Koma Family and Naka Komin, Edo period (1615-1868) or Meiji era (1868-1912), 19th centuryDecorated in gold and iro-e takamaki-e with the Rokkasen (Six Immortal Poets) clustered together, as if in conference, on a rich o-birame ground, three on one side and three on the other, their faces all inlaid in high relief of either bronze, shakudo or shibuichi, signed on the base for the lacquer Koma saku and for the metal details Naka Komin with a kao; with a red-carved lacquer ojime. 8.3cm (3¼in) high.Footnotes:Provenance: Edward Wrangham Collection, no.1731.Purchased in these rooms, 9 November 2010, lot 272. Published:E. A. Wrangham, The Index of Inro Artists, Alnwick, Northumberland, Harehope Publications, 1995, p.142, Naka Komin, left.Naka Komin (born 1850) worked in Tokyo and was a maker of decorative metal kanamono and some sword fittings.For further information on this lot please visit Bonhams.com
An inlaid ivory and silver-mounted rectangular box and coverMeiji era (1868-1912), late 19th/early 20th centuryIntricately carved predominantly in varying degrees of relief, the cover decorated in high relief of shakudo, gilt and bronze with a warrior kneeling at the feet of Shakyamuni standing on the other side of river, the warrior holding up a miniature statue of Buddha as an offering, all the sides of the box with several rakan depicted at leisure with their respective attributes inlaid in shell or coloured ivory, the sides and six feet silver-mounted with silver filigree details, unsigned; with a wood storage box. 10.7cm x 16.8cm x 12.6cm (4¼in x 6 5/8in x 5in). (3).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Wall lighting to include a pair of giltwood and mirror set wall lights, 75cms high; and a pair gilt bronze ram's head set lights, late 19th century, 44cms high (4) Provenance: By direct descent from Lady Enid Doreen Scudamore-Stanhope Browne (1899-1985), daughter of The Hon. Evelyn Theodore Scudamore-Stanhope and Julia Dasha Potter. Condition Report: Note amendment 4th November - size overall of the first pair is nearer 82cms- not 75cms as stated in original description First pair- losses and damages throughout and old repairs- to clarify- these have been handled roughly/carelessly over the years and with old and newer breaks, repairs, regilding, losses to decoration- see additional images on the lot page Second pair- later fitted and drilled for electricity- will benefit from a clean. ELECTRICAL GOODS. These are sold as 'antiques' only and if bought for use must be checked over for compliance with safety regulations by a qualified electrician before use Condition Report Disclaimer
A pair of late 19th century French gilt bronze and brass figural three light candlesticks, emblematic of nature and agriculture, 49cms high; and a single gilt metal wall light, lacking elements but probably originally an oil light, 36cms high (3) Condition Report: Candlesticks- one lacking fitment to base of basket- both rubbed and with losses to gilding revealing base metal cores- slightly misshapen Oil lamp- lacking elements Condition Report Disclaimer
An Austrian bronze figure of an African basket carrier, circa 1900, in the Bergmann manner, Nubian man bared to his waist, possibly a Bonsai holder, gold dot decoration to clothing, apparently unmarked, 19.5cms high Condition Report: Some rubbing to extremities from handling notably face- wear to interior of basket from use Condition Report Disclaimer
A Japanese bronze figure of a peasant, Meiji Period, the man wears a short coat, waraji sandals and a bandana round his head, he stands on an irregular base holding a broom in one hand, the other extended to pick a fruit, foundry stamp to base, height 55.5cms, Condition Report: Base is bent and with splits, left arm detached but present, probably formerly with another fruit below hand, one screw missing- some damage around fixing points, handle of broom loose, dirty. Condition Report Disclaimer
A patinated bronze model of a seated mastiff, probably English, early 20th century, 11cm high, 14cm wide overall including rectangular variegated rouge marble plinth; and a patinated bronze model of a standing bulldog in the manner of Charles Curry, early 20th century, 7cm high Condition Report: The sculptures bear the usual minor marks, knocks and scuffs overall consistent with age. The larger bronze has a variegated mid-brown patina with reddish and lighter yellowish areas. One or possibly two of the corners of its marble base has been restored (using a painted composition). The smaller bulldog has some dirt/dust in the recesses, and an overall mottled black/brown patination. Overall, the lot is in perfectly presentable order. Condition Report Disclaimer
A spinach-green jade tripod incense burner and coverQianlong Superbly carved, the compressed globular body carved on each side with a taotie mask in low relief separated by notched flanges, reserved on a dense and intricately incised leiwen ground, flanked by a pair of S-shaped handles, supported on three separately carved short lotus feet, the domed cover with gently rounded sides similarly carved with taotie masks, surmounted by a large circular finial reticulated with a coiled dragon amidst scrolling clouds, the stone of dark-green tone with dark striations. 18.1cm (7 1/8in) wide (2).Footnotes:清乾隆 碧玉雕獸面紋三足出戟蓋爐Provenance: a Swiss private collection來源：瑞士私人收藏Inspired by the shape and decoration of archaic bronze gui 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 the ancient cultures. For this purpose, the emperor instructed the Court to collect drawings of antiquities, such as the 'Catalogue of Xiqing Antiquities' (Xi Qing Gu Jian 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.Compare with a related spinach-green jade tripod incense burner and cover, Qianlong, said to have come from the Summer Palace, Beijing, 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.A related spinach-green jade incense burner and cover, Qianlong, was sold at Bonhams London, 11 May 2017, lot 237.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
A large lacquered-wood figure of the Buddha of Medicine18th/19th century Carved standing, the hands in bhumisparsa mudra, wearing long flowing robes over his shoulders, tied at the chest and cascading into graceful pleats over his legs, the face set with a contemplative expression, flanked by pendulous ears, the hair arranged in tight curls surrounding the ushnisha, traces of gilding. 74cm (29 1/8in) high.Footnotes:十八/十九世紀 木漆金藥師佛像Provenance: Schotte family, Ghent, Belgium, before 1960, by repute來源：傳於1960年前，比利時根特Schotte家族The Medicine Buddha is worshipped in Mahayana and Vajrayana Buddhism to overcome physical, mental, and spiritual sickness, and to purify karmic debt. Various dedicated sutras describe his origins differently: as an excelled bodhisattva, as Shakyamuni transformed, or as a primordial Buddha.Longnu is the daughter of the Dragon King and would have stood to the left of an image of Guanyin, in conjunction with a figure of Shancai, which would have stood to the right of the main deity. The technique of coating carved wood figures with gilt-lacquer appears to have emerged during the early part of the Ming dynasty, continuing on to the Qing dynasty and echoing Buddhist bronze figures in form and decoration.Compare the stylistic features of the present Buddha with those of a gilt-lacquered wood figure of Guanyin, 17th/18th century, sold at Bonhams, London, 14 May 2015, lot 64.For further information on this lot please visit Bonhams.com
A large gilt copper-alloy repoussé figure of Buddha ShakyamuniTibet, 17th century Well modelled seated in dhyanasana, his hand in bhumisparsamudra, wearing layered monk's robes gathered in cascading folds with finely incised floral hems, his face with a serene expression flanked by long pendulous ears, beneath a domed ushnisha, the base sealed. 34cm (13 3/8in) high.Footnotes:西藏，十七世紀 銅鎏金錘揲釋迦牟尼像From the back of this statue, it is apparent that the robe is a kasaya, garment made of patches of cloth joined together. In Chinese, kasaya is translated as 'futian' (happy fields 福田) because the patch pattern looks like a 'field' (tian 田). Therefore, supporting monks was considered to be equivalent to planting fields.See a related gilt bronze figure of Buddha, 17th century, with similar robe and hems, illustrated in Buddhist Images in Gilt-Metal, Taipei, 1993, pp.38-39, no.12.For further information on this lot please visit Bonhams.com
A gilt-bronze figure of AkshobhyaTibet, 15th centurySeated in vajrasana on a lotus base, his right hand in bhumisparshamudra, his left resting on his lap, wearing a thin robe detailed with incised geometric designs at the hem, his face with meditative expression defined by an aquiline nose and smiling lips, the hair arranged in a high chignon surrounded by a foliate tiara set with stones, sealed base. 21cm (8 1/4in) high.Footnotes:西藏，十五世紀 銅鎏金阿閦佛坐像Provenance: a European private collection來源：歐洲私人收藏Rendered with exceptional elegance, this sculpture perfectly captures the steadfast nature of Buddha Akshobhya, whose name translates to 'immovable' or 'unshakeable'. As one of the most popular of the five transcendent Buddha's venerated in Tibet, each of whom reign over one of the five directions, Akshobhya is the Buddha who resides in the east. Every aspect of the body, from the fleshy toes, the elongated fingers, and the broad shoulders which give way to a softly tapered waist, conveys a sense of energized balance. Combined with the gentle smile and steady gaze, these features convey the deity's powerful grace.Compare the style of the present figure with a related but larger and slightly earlier gilt-bronze figure of Buddha Vajradhara, 14th century, illustrated by A.Lutz, On the Path to Enlightenment: The Berti Aschman Foundation of Tibetan Art at the Museum Rietberg Zurich, Zurich, 1995, p.61, no.2.A similar gilt-bronze figure of Akshobhya, 15th/16th century, was sold at Christie's Amsterdam, 21 November 2001, lot 130.For further information on this lot please visit Bonhams.com
A gilt-bronze inscribed figure of a Buddhist preceptorTibet, circa 16th century Seated in dhyanasana on a lotus pedestal, his left hand raised delicately holding a book, his right hand resting over his right knee, dressed in voluminous patchwork robes embroidered with lotus medallions and hems incised in floral scrolls, the face with engaged expression and steady gaze, flanked by pendulous ears, the reverse incised with an inscription in Tibetan. 19.5cm (7 5/8in) high.Footnotes:西藏，約十六世紀 銅鎏金上師像Provenance: a European private collection來源：歐洲私人收藏The inscription reads:࿓࿔ །། གསེང་པ་ལོ་ཙྪ་བ་ཀུན་དགའ་ལེགས་པའི་འབྱུང་གནས་རྒྱན་མཚན་དཔལ་བཟང་པོ་ལ་ན་མོ༔Which is the name of the Buddhist Teacher Serpa lotstsawa Künga Lekpé Jungné Gyeltsen Pelzangpo, (1308-1330), a Tibetan Imperial Preceptor at the court of the Mongol Yuan dynasty. He belonged to the abbot family Khon of Sakya which had a precedence position in Tibet at the time and held the dignity from 1327 to 1330.Compare the style of the present figure with a gilt-bronze figure of a Tibetan teacher, 16th/17th century, which was sold at Christie's New York, 18 May 2015, lot 4019.For further information on this lot please visit Bonhams.com
A very large gilt copper-alloy repoussé figure of a Kagyu Lama17th centuryThe naturalistic contours of his face conveying a jovial alertness, between long pendulous ears, the slender fingers of the lama's right hand in the gesture associated with reasoning or teaching, his left hand resting on his lap, seated in dhyanasana, his lean, well-proportioned frame wrapped in diaphanous garments with floral hems. 67cm (26 3/8in) high.Footnotes:十七世紀 銅鎏金錘揲噶舉喇嘛像Published and Illustrated: O.Hoare, Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, Part II, private publication, p.46, no.25.出版著錄：O.Hoare，「Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages」，第二部分，頁46，編號25The Kagyu tradition of Tibetan Buddhism embraces over twenty lineages stretching over a thousand years. Their era of greatest florescence was in the late medieval period, when they enjoyed extensive temporal as well as spiritual influence. Images in painting and sculpture of the masters of these various lineages are legion, and as they were often commissioned by or for a particular master's disciples, or for those for whom the master's features would have been equally immediately recognisable, they are often unsubscribed. The present lot can be confidently ascribed to the Kagyu tradition on the basis of the costume and general treatment being similar to those of other Kagyu lamas.Life-size sculpture of any kind in Tibet is extremely rare and the common practice was to employ the techniques of repoussé and cast elements to construct the largest figures. Other life-size portraits of Lamdre lineage masters are preserved in Mindroling, Tibet, see von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2003, nos.238A-J. Also compare with a large scale portrait of Lama Puntsok Sherap dated to the 17th century in the San Antonio Museum of Art (acc.2004.7.1).See a life-size gilt copper alloy repousse figure of a Yogin, Tibet, circa 17th century, which was sold at Bonhams New York, 14 March 2017, lot 3224.For further information on this lot please visit Bonhams.com
A large gilt-lacquered bronze figure of Buddha ShakyamuniMid Ming DynastyFinely cast with eyes downcast in meditative expression seated in dhyanasana,with the right hand reaching down towards the ground in bhumisparsha mudra, the left hand held gently in the lap in dhyana mudra, dressed in pleated garments open at the chest, all supported on a double-lotus pedestal, covered overall with layered gilt lacquer and polychrome. 47.5cm (18 3/4in) high.Footnotes:明中期 銅漆金釋迦牟尼坐像Provenance: a European private collection來源：歐洲私人收藏Conveying a high degree of power and presence, this powerful and large-scale figure of Buddha Shakyamuni is notable for the crisp casting and the meticulous attention to detail which is echoed in the gentle folds of the elegant monastic robes, finely embellished with foliate scrolls and diaper patterns.The figure of Shakyamuni is one of the most widely represented subjects in Buddhist art. Modelled in the earth-touching gesture or bhumisparsha mudra, the Buddha recalls the moment of his Enlightenment, in which he called upon the earth as his witness of his battle against the temptations and attacks of Mara and his demons. The serene countenance conveyed by the gentle facial features, with the eyes depicted half closed in meditation and the long earlobes symbolising long life, follows the standard rules for the depiction of Buddha to ensure the deity was shown embodying maximum power.Compare with a related gilt-bronze figure of Buddha in the Munsterberg collection, Ming dynasty; see H.Munsterberg, Chinese Buddhist Bronzes, New York, 1988, pls.18a and 18b.See also a related but slightly smaller gilt-lacquered bronze figure of Buddha, Ming dynasty, which was sold at Christie's New York, 22-23 March 2012, lot 1778.For further information on this lot please visit Bonhams.com
An archaic bronze ritual food vessel, duiWarring States PeriodThe deep oval bowl raised on four slender tapering legs issuing from incised monster masks, with a pair of tabbed ring handles issuing from a horned animal, the bronze patinated to a smooth olive-green patina with areas of malachite encrustation. 19.3cm (7 5/8) long. Footnotes:戰國 青銅敦Provenance: A St. Louis, Missouri private collectionThe Zeiser collection Sotheby's New York, 17 March 2015, lot 158A distinguished London private collection來源：美國密蘇里州聖路易斯私人舊藏Zeiser舊藏紐約蘇富比，2015年3月17日，拍品編號158倫敦顯赫私人收藏For further information on this lot please visit Bonhams.com
An unusual gilt-bronze figure of a foreigner17th centuryThe figure standing straight, holding an elephant tusk in his hands, wearing a pointed hat and a layered long robe falling to his feet revealing the pointed slippers, draped into pleats and fastened with a string-like cloth belt, the face with a pleasant expression and deeply cast with bushy eyebrows above bulging eyes. 23cm (9in) high.Footnotes:十七世紀 銅鎏金胡人立像Provenance: a European private collection來源：歐洲私人收藏The motif of a foreigner in standing or kneeling position holding an object in his hands, such as the present example, is known as 'the foreigner offering treasures (huren xian bao)' and bears stylistic influences from India and Gandhara. See S.Jing, 'Discussion about the origin of the huren xian bao', in Collections, 1996, vol.6, pp.31-35.Foreigners depicted with large round eyes and noses, thick curly beards, moustache and hair, were a popular motif in Chinese art from as early as the Tang dynasty (618-906), when the increased presence of foreigners in China generated new fascination among the Chinese and led to a gradual stylisation of the image of the foreigner in Chinese art. Compare with two related bronze figures of foreigners, Ming dynasty, from the George Eumorfopoulos collection, both holding a conch shell and wearing a similar costume as the present lot, in the British Museum, London, nos.1938,0524.712.a and 1938,0524,713.a.For further information on this lot please visit Bonhams.com
A gilt-bronze Stupa18th centurySolidly cast with a waisted square plinth elaborately incised with circular patterns, the domed body raised on a four-tiered stepped base, the dome with a niche surmounted by tapered parasols beneath a sun and moon finial, sealed base. 16cm (6 1/4in) high.Footnotes:十八世紀 銅鎏金佛塔For further information on this lot please visit Bonhams.com
A pair of parcel gilt-bronze duck-shaped incense burners and coversMing DynastyEach finely cast in the shape of a duck with the head slightly raised as if calling out and small beady eyes framed by long sinuous feathers defining the round body supporting their gracefully curved slender necks, adorned with finely incised layers of triangular and circular feathers backed by a further array of feathers fanning out of their tail, all supported on a sturdy webbed foot, the other leg tucked underneath their stomach. Each 26cm (10 1/4in) high. (4).Footnotes:明 銅鎏金寶鴨式薰爐一對Incense burners shaped as ducks were made in China from at least the Han dynasty (206 BC-AD 220). See a bronze duck incense burner, Han dynasty, of similar form to the present piece, in the Portland Art Museum, illustrated by D.Jenkins, Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.80-81.During the Ming dynasty, incense burners in the form of ducks appear to have been popular. The 'One Hundred Lyric Poems of the Yuan Court' (Yuan gong ci yibai shou 元宮詞一百首) by Zhu Youdun (朱有燉), dated 1406, mentions 'The gold duck burns the remaining midnight fragrance; Only then do the ladies of the Imperial family try on the Yue-woven skirts'. A further poem by the Ming scholar and Grand Secretary, Jin Youzi (金幼孜 1368-1431), included in 'Viewing Lanterns on the Lantern Festival' (Yuanxi ci wumen guandeng 元夕賜午門觀燈) and recorded in the Jin wen jing ji, vol.4 in Qianding siku quanshu, mentions that, on the occasion of the banquet held by the emperor during the Lantern Festival at the beginning of the Ming dynasty, 'Auspicious portents of lovely smoke rose forth from the golden duck censers'. This poem clearly suggests that gilt-bronze duck incense burner were used at court banquets from as early as the beginning of the 15th century.See a related bronze duck incense burner, Ming dynasty, in the Tokugawa Art Museum Collection, Nagoya, illustrated in The Shogun Age Exhibition: From the Tokugawa Art Museum, Japan, Tokyo, 1983, p.107.Compare with a related bronze 'duck' incense burner, Ming dynasty, which was sold at Bonhams New York, 16 September 2013, lot 8103.For further information on this lot please visit Bonhams.com
A massive documentary archaistic ritual bronze incense burner, FangDingQianlong, dated by inscription to the 41st year of the reign Qianlong corresponding to 1776 and of the periodOf rectangular form, cast on each side with a taotie mask in low relief, with stylised body and claw motifs on the sides, against the thunder patterns, centred with flanges, below a narrow register of low relief chilong scroll, the four vertical faces with pronounced square flanges terminating in points at the corners, under the lipped rim surmounted by a pair of loop handles, all supported on four tall dragon legs, wood cover. 66cm (26in) high. (2).Footnotes:清乾隆四十一年 青銅大方鼎Provenance: White Allom & Co. London (label)Harold Hyam Wingate (1901-1979), acquired in the 1950s, and thence by descent來源：倫敦古董商White Allom & Co（標籤）Harold Hyam Wingate (1901-1979) 舊藏，二十世紀五十年代入藏，並由後人保存迄今The side of the exterior is inscribed:乾隆四十一年 台灣府知府蔣元樞捐造 貢生蔣得皋監製Which may be translated as:'The forty-first year of Qianlong reign, donated by the Prefect of Taiwan, Jiang Yuanshu, manufacture supervised by Tribute Student, Jiang Degao'The present lot would have belonged to a group of bronze ritual vessels commissioned and donated by Jiang Yuanshu. These bronze vessels are depicted in the 'Illustrations of Ritual Vessels at the Confucius Temple' (孔廟禮器圖) from the Illustrated Explanations of Renovating Various Buildings in Taiwan Prefecture (重修臺郡各建築圖說). Jiang Yuanshu 蔣元樞 (1738-1781), style name Zhongsheng (仲升), sobriquet Xiangyan (香巖), was a native of Changshu in Jiangsu. He served as the Prefect of Taiwan from the fortieth to the forty-third year of the Qianlong reign (1775–1778). According to the Illustrated Explanations of Renovating Various Buildings in Taiwan Prefecture by Jiang Yuanshu, he noted in 1776 that 'all the vessels used at the Confucian Temples in Taiwan Prefecture are made of lead-tin bronze, which is of humble quality'. Therefore, he 'carefully consulted Confucian regulations and selected artisans in Suzhou to establish a workshop, purchased bronze, created a foundry, cast ritual vessels and musical instruments, and had them all shipped to Taiwan'.See three other identical bronze ritual incense burners with the same inscription existing in Taiwan, two in the Tainan Confucius Temple and another in the Tainan Grand Matsu Temple.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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 fine gold-splashed bronze tripod incense burner, lidingXuande six-character mark, 18th/19th centuryOf compressed globular form subtly divided to three lobes supported on three tapered legs, rising to the short neck and wide flattened rim, set with a pair of rope-twist U shaped handles, the body with a warm brown patina and irregular gold splashes, the base with a six-character Xuande mark. 22cm (8 5/8in) wide.Footnotes:十八/十九世紀 銅灑金沖耳爐「大明宣德年製」楷書鑄款Provenance: a Spanish private collection, and thence by descent來源：西班牙私人收藏，並由後人保存迄今See a related gilt-splashed incense burner, 17th/ early 18th century, but cast with dragons on each lobe, which was sold at Christie's New York, 24 March 2011, lot 1430. Compare also a gold-splashed bronze tripod incense burner, 18th century, which was sold at Christie's South Kensington, 11 June 2004, lot 282.For further information on this lot please visit Bonhams.com
A large bronze 'chilong' incense burner and coverQingtong xuan zhi mark, Kangxi/YongzhengHeavily cast, of compressed oval form supported on three feet, flanked by a pair of chilong handles, with further two dragons clambering on each side, below the shoulders cast with lotus lappets, surmounted by a reticulated cover cast with a pair of high relief dragons amidst cloud scrolls reaching towards a single dragon forming the finial, the base cast with the mark which may be translated as 'Made for the Pavilion of Qingtong'. 40cm (15 6/8in) wide (2).Footnotes:清康熙/雍正 銅飾螭龍大香薰「青桐軒製」篆書鑄款Provenance: a Spanish private collection, and thence by descent來源：西班牙私人收藏，並由後人保存迄今Qingtong is a pseudonym of Jiang Tingxi (1669-1732), official painter and grand secretary to the Imperial court, and editor of the 5,020 volume encyclopaedia Gujin Tushu Jicheng. He was born in Changshu, Jiangsu Province.For further information on this lot please visit Bonhams.com
A rare bronze basinQianlong seal mark and of the periodThe deep dish heavily cast with gently curving sides rising from an inward-tapering foot to an everted rim, the recessed base with the seal mark. 39cm (15 1/4in) diam. Footnotes:清乾隆 銅制大盆「大清乾隆年製」篆書鑄款For further information on this lot please visit Bonhams.com
A cloisonné enamel 'lotus' vase, hu17th century Brightly decorated around the pear-shaped body with bands of large Indian-lotus heads borne on scrolling leafy stems reserved on a turquoise-blue ground, set at the shoulder with two large gilt-bronze lion-mask handles suspending loose rings, all supported on a tall spreading foot. 50cm (19 3/4in) high.Footnotes:十七世紀 銅胎掐絲琺瑯纏枝蓮紋壺Compare with a similar vase, 17th century, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, 2011, p.258, no.68.See a similar, smaller cloisonné enamel 'lotus' vase, 17th century, which was sold at Sotheby's Hong Kong, 7 April 2015, lot 3727.For further information on this lot please visit Bonhams.com
An imperial cloisonné and champlevé enamel 'phoenix' ice chestQianlong/JiaqingOf square section with straight sides tapering to the base, divided into three horizontal registers by two raised ribs, the middle section enamelled with shou medallions within a foliate sunburst, flanked by a pair of formal lotus flowers, the top and bottom registers each with pairs of confronted red phoenixes centred on a blue bat grasping a wan character in its mouth, all reserved on a dense foliate turquoise-blue ground, two sides set with gilt-bronze C-shaped handles, the interior with a fitted metal liner, wood stand. 34 x 68 x 68 cm (13 3/8 x 26 7/8 x 26 7/8 in) (2).Footnotes:清乾隆/嘉慶 御製銅胎掐絲及內填琺瑯福壽瑞鳳紋冰盒Provenance: a European private collection, acquired from Anna Puchar del Bello in 1968, who inherited it from her father, a captain on a Trieste-based merchant ship that often travelled to the Asia.來源：歐洲私人收藏，現藏家於1968年購自一名往返於意大利里雅斯特與亞洲間商船船長之女，Anna Puchar del BelloImpressive in size and its magnificent detailed design, the decorative combination of auspicious motifs such as phoenixes, bats and shou characters on a dense foliate scroll indicate that it most likely was intended for the emperor's chambers. A related cloisonné enamel ice chest, Qianlong mark and of the period, but decorated with foliate lotus scrolls, is illustrated in The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, pl.129.Ice chests were filled with ice and used in the Qing palaces during the hot summer months to cool drinks and food, as well as cooling the surrounding area. In winter ice blocks were cut from the Inner Golden River and were stored in the five ice vaults in the Forbidden City near the Gate of the Great Ancestors. During the period from the first day of the fifth month to the twentieth day of the seventh month specific members of the imperial Household Department received an allocation of two blocks of ice per day. The pierced covers of the ice box allowed cool air to escape, which would then be fanned into the rooms by servants. Large ice chests of this type derive from wooden prototypes lined with a metal such as lead; see an example in the Victoria and Albert Museum, London, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.99, pl.89. The form and horizontal gilt-metal ribs are examples of the original wooden structure that have been retained, along with the transportable nature of these chests represented by in the sturdily-constructed handles.Compare with a related cloisonné enamel ice chest, Qianlong, which was sold at Christie's New York, 20 0ctober 2004, lot 601.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' 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 rare teadust-glazed bottle vaseQianlong seal mark and of the periodThe globular body rising from a spreading foot to a tapering neck and everted rim, covered overall in an olive-green coloured glaze flecked with a fine yellow mist, the base with a six-character seal mark beneath a brown glaze. 18.8cm (7 3/8in) high.Footnotes:清乾隆 茶葉末釉長頸瓶「大清乾隆年製」篆書模款Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今The so called 'Tea-dust' glaze was first produced in the Yongzheng period, using the same metallic colourant as Imperial yellow glazes (iron oxide). Depending on the firing conditions, the glaze might fire a lighter yellowish brown, called 'eel yellow', or a greener hue, called 'snakeskin green'. The monochrome glaze complements the form of the porcelain, perhaps inspired by metalwork, especially archaic bronze forms. Compare with a similar Qianlong seal mark and period bottle of this form and glaze, illustrated in The Prime Cultural Relics Collected by Shenyang Imperial Palace Museum, vol.II, Liaoning, 2007, p.41. See another similar vase, Qianlong seal mark and of the period illustrated in Art of China: highlights from the Philadelphia Museum of Art, London, 2018, p.200, no.79. See also Porcelains from the Tianjin Municipal Museum, Hong Kong, 1993, pl.162. See also an example included in the exhibition Ethereal Elegance: Porcelain Vases of the Imperial Qing, The Huaihaitang Collection, 2007, Hong Kong, no.64; and a vase illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, no.935, which was later sold at Sotheby's Hong Kong, 8 April 2013, lot 6. See also a similar teadust-glazed bottle vase, Qianlong seal mark and of the period, which was sold at Sotheby's Hong Kong, 5 April 2017, lot 3668.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
A rare bronze inscribed ritual tripod wine vessel, jueLate Shang/early Western Zhou Dynasty, 12th-10th century BCThe vessel with a deep U-shaped body rising to a pointed rim opposite a long channelled spout, flanked by a pair of posts capped with conical 'fire-whorl' medallions, all supported on three narrow tapered legs, the exterior intricately cast in low relief with two registers of taotie scrolls, one side set with a curved handle issuing from a bovine mask, a three-character inscription Shi Fu Gui cast beneath the handle, the surface with an overall greyish-green patina with areas of malachite encrustation. 20cm (7 7/8in) high.Footnotes:商晚期或西周早期，公元前12至10世紀 青銅饕餮紋爵Inscription：史父癸Provenance: Dr. Kyoshi Hosoi (1897-1975), Honolulu Rare Art Inc., New York, before June 1982An important European private collectionChristie's London, 10 November 2015, lot 18A distinguished London private collection來源: 美國夏威夷檀香山Dr. Kyoshi Hosoi (1897-1975) 舊藏1982年6月前購自美國紐約古董商Rare Art Inc.歐洲重要私人收藏倫敦佳士得，2015年11月10日，拍品編號18倫敦顯赫私人收藏A bronze jue, 'Chih-fu-hsin' wine vessel, Shang dynasty (1766-1122 BC), of similar form and decoration, is in the collection of the National Palace Museum Taipei, see Masterworks of Chinese Bronze in the National Palace Museum, Taiwan, pl.44. See also a jue with similar design on the main register and under the spout, illustrated by J.Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, vol.IIB, pp.639-639, no.105.A similar jue, late Shang dynasty, decorated with two bands of taotie scrolls but with a longer inscription, was sold at Christie's New York, 15 September 2011, lot 1102. Another related bronze jue, late Shang/Western Zhou dynasty, was sold at Bonhams Hong Kong, 8 November 2012, lot 228.For further information on this lot please visit Bonhams.com
A rare archaic bronze ritual food vessel, guiEarly Western Zhou Dynasty, 11th-10th century BCThe compressed globular body cast in high relief on each side with a pair of taotie masks with C-shaped horns and large boss eyes, divided by two mythical beast-headed loop handles set at the bottom with a tab, all supported on a high spreading foot cast in high relief with a band of eight dragons, the patina of gun-metal grey tone with light patches of malachite encrustation. 29.2cm (11 1/2in) wide. Footnotes:西周早期，公元前11至10世紀 青銅獸耳饕餮紋簋Provenance: Mr. Rafi Y. Mottahedeh, New YorkSotheby's New York, 4 November 1978, lot 308Mr. and Mrs. Earl Morse, New YorkRichard J. and Jean D. SalisburyJ.J. Lally & Co., New YorkAn American private collectionSotheby's New York, 17 March 2015, lot 154A distinguished London private collectionExhibited and Published: The Metropolitan Museum of Art, New York, 1982, Spirit and Ritual: The Morse Collection of Ancient Chinese Art, no.14.J.J. Lally & Co., New York, June 1 to 25, 1994, Archaic Chinese Bronzes, Jades and Works of Art, no.53.來源：美國紐約Rafi Y. Mottahedeh舊藏紐約蘇富比，1978年11月4日，拍品編號308美國紐約Earl Morse伉儷舊藏Richard J.與Jean D. Salisbury伉儷舊藏美國紐約古董商J.J. Lally & Co.美國私人收藏紐約蘇富比，2015年3月17日，拍品編號154倫敦顯貴私人收藏展覽著錄：大都會藝術博物館，「Spirit and Ritual: The Morse Collection of Ancient Chinese Art」，美國紐約，1982年，編號14J.J. Lally & Co.，「Archaic Chinese Bronzes, Jades and Works of Art」，美國紐約，1994年6月1日至25日，編號53The rendering of the masks that dominate the body of this vessel are characteristic of the early Western Zhou period. Large-scale animal masks appear on some of the most famous vessels of the period, such as the Li gui; see W.Fong, The Great Bronze Age of China, New York, 1980, no.41. The style established by such important works as the Li gui probably enhanced the popularity of this motif at the time.Two related gui vessels from the reign of the third Zhou King, Kang Wang (1020-996 BC or 1005-978 BC) make it likely that the present lot was also produced during the same reign. See Bronzes of the Shang and Chou Unearthed in Shensi, Beijing, 1979, no.152.For further information on this lot please visit Bonhams.com
An Imperial gilt-lacquered wood figure of Buddha17th/18th centuryThe serene figure seated cross-legged in dhyanasana on a separate double-lotus pedestal with the hands held in dhyana mudra, attired with a long dhoti falling in elegant pleats and a celestial scarf billowing around the arms, the face with downcast eyes crowned by intricate jewellery on top of the hair. 21.5cm (8 1/2in) high. (2).Footnotes:十七/十八世紀 御製木漆金佛坐像Provenance: an English private collection, and thence by descent. The collection was formed by the grandfather of the former owner who was the Assistant Commissioner, Shanghai Municipal Police, 1919-1928. His father was a Protestant missionary in China. The family returned to England shortly after the Second World War.來源：英國私人收藏，並由後人保存迄今。本拍品前任藏家之祖父曾於1919至1928年任上海公共租界工部局警務處副官，其父為一名新教傳教士；第二次世界大戰爆發後，舉家回到英格蘭。Stylistically, the present work can be related to a corpus of Buddhist gilt-lacquer sculpture commissioned during the reigns of the Kangxi and Qianlong emperors at the Buddhist site of Rehol, near Chengde in Hebei Province. The Kangxi emperor ordered the construction of various Tibetan-style Buddhist temples. Under the reign of his grandson, the Qianlong emperor, the site was expanded massively. The central focus of worship for many of these temples were gilt-lacquered sculptures, including the 22-meter-high figure of Thousand-Armed Avalokiteshvara at the Puning Temple. Related to the present work are three massive figures of Buddha in the Zongyin Hall of the Pule Si, constructed in 1766 (illustrated by Du Jiang in Buddhist Art from Rehol: Tibetan Buddhist images and ritual objects from the Qing dynasty Summer Palace at Chengde, Taipei, 1999, p.29). Characteristic of many of these lacquered sculptures was the deeply coloured gilding, almost in imitation of patinated gilt-bronze, atop thick red or black lacquer. Although no records exist as to why lacquer was chosen for the majority of the sculptural ensemble, it is likely the use of the more plentiful and pliable material allowed for a more extensive building project.Compare with a larger gilt-lacquered wood figure of an enthroned Buddha, 17th/18th century, which was sold at Christie's New York, 22-23 March 2018, lot 1041.For further information on this lot please visit Bonhams.com
A rare copper-alloy figure of a BodhisattvaTang Dynasty or earlierThe figure finely cast standing with hips gently swayed, the left arm held up holding a large sphere, clad in an elegant dhoti and billowing scarves, open at the chest revealing jewellery, the face with serene expression beneath a crown, a hook on the reverse of the body, stand. 21.4cm (8 3/8in) high (2).Footnotes:唐或更早 銅製菩薩立像Provenance: Alain Presencer collection來源：Alain Presencer收藏Alain Presencer began learning about Buddhism at home in Canada, at the age of 13, and subsequently studied with the late Professor Mathera Sadhatissa at the University of Toronto between 1961-1962. Thereafter in England, he became an active member of the London Buddhist Vihara. For the next 50 years, Alain Presencer spiritedly promoted the study of Tibetan Buddhism and culture in the United Kingdom. His contributions to the field resulted in numerous recognitions, including his appointment as a Fellow of the Royal Asiatic Society. Alain also introduced the musical genre of Tibetan 'singing bowls' to the West. His album, 'The Singing Bowls of Tibet', is still in production today, having sold over a million copies.The present lot as indicated by the hook on the reverse of the figure, was probably originally part of an altarpiece. Compare with a related gilt-bronze standing bodhisattva Guanyin with a similar posture and circular pedestal, Tang dynasty, in the Arthur M.Sackler Museum, illustrated by A.F.Howard, L.Song, W.Hung and Y.Hong, Chinese Sculpture, New Haven, 2006, p.312, fig.3.118.For further information on this lot please visit Bonhams.com
A carved bamboo 'Qiao Sisters' brushpot, bitong17th/18th centuryThe tall cylindrical vessel crisply carved around the exterior with a continuous scene of two ladies reading in medium relief with finely incised hair and elegant robes, seated on a stool and on an exquisitely detailed daybed with books and archaic bronze vessel issuing flowers, the reverse with a poetic inscription in xingshu calligraphy. 14.3cm (5 5/8in) high.Footnotes:十七/十八世紀 竹雕二喬共讀筆筒The present lot is rendered with the popular scene of the two Qiao sisters, representing the height of bamboo carving in the late Ming and early Qing periods. The Qiao sisters in Chinese history became legendary for their beauty and for marrying two famous war heroes. They were the daughters of the official Qiao Xuan (109-83) of the late Han dynasty, with one marrying the warlord Sun Ce, and the other marrying Sun's close friend, General Zhou Yu.A very similar bamboo brushpot with the Qiao sisters, attributed to Wu Zhifan (active 1662-1722) is illustrated in Shanghai Museum, London, 2007, p.249; where it is noted that 'Wu Zhifan specialised in this technique' of carving away the background to make the figures more prominent. Compare with a similar carved bamboo 'Qiao sisters' brushpot, 18th century, which was sold at Sotheby's Hong Kong, 3 April 2019, lot 3717.For further information on this lot please visit Bonhams.com
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