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Lot 1763
A pair of 19th century French bronze and ormolu figural two-light mantel candelabrum, each Bacchic figure in classical drapes with vine chaplets, supporting acanthus carved flowering cornucopia, issuing a flaming torch dividing a pair of scrolling candle arms with campana shaped sconces, stepped bases, engine turned and carved with stiff leaves, 50cm high, c.1830
Lot 2270
A Victorian silver mounted chestnut vesta case, hinged cover, monogrammed shield shaped cartouche and inscribed ribbon mount to sides, striker to the base, marked Fine Silver, 5cm wide; a miniature patinated bronze bust, of Napoleon; a cast metal figure, of a child praying, 5cm high; an early 19th century turquoise spiral glass vase, pontil mark to base, 9cm high; etc
Lot 2621
Hot Wheels (Mattel) RRRumblers a pair (1) Squealer - yellow plastic seat, black tank and handlebars, purple rider and (2) Straightaway - bronze plastics, brown, black and white driver with guide line - conditions are generally Good Plus to Excellent (slight discolouration to bare metal parts) - see photo. (2)
Lot 2631
Hot Wheels (Mattel) RRRumblers (1) Torque Chop - red plastic seat, blue figure rider with black helmet; (2) Bold Eagle - dark bronze eagle with white head, light blue figure driver with silver helmet and (3) Rip Code - blue, pinkish-red figure with white helmet (does have wear to side labels) - otherwise conditions are Good to Excellent (some slight surface corrosion to bare metal parts) - without guide lines. (3)
Lot 2421
Dinky group to include; 242 Ferrari Racing Car - red including plastic engine cover, chrome spun hubs, figure driver, racing number 24 - Excellent Plus in a Good presentation yellow & red window box (some crushing & splits to cellophane); 284 Austin London "Taxi" - black, dark grey interior with figure driver, cast hubs - Excellent in a Fair window box; Unboxed Hillman Imp - metallic light green, red interior, chrome spun hubs (without luggage case); Range Rover - metallic bronze, light blue interior, cast hubs; Manure Spreader - red, yellow plastic hubs (late issue) & Benbros (Zebra Toys) Cement Mixer - red, yellow barrel & plastic hubs - conditions are generally Good to Excellent Plus. (6)
Lot 2082
Corgi "James Bond" 2-Piece Lotus Esprit Set to include; (1) "The Spy Who Loved Me" - underwater version - finished in white, black & (2) Turbo "For Your Eyes Only" - metallic bronze - (Ltd 141/150) produced by Collectables Magazine - condition is Mint in a Near Mint black attache style case with correct certificate & 2 x correct plaques - see photo.
Lot 44
STATUETTE DE BOUDDHA AMITAYUS EN BRONZE DORÉXVIIIe siècleA BRONZE FIGURE OF AMITAYUS18th centurySeated in ajraparyankasana on a rectangular base, his hands in dhyanamudra, dressed in a thin dhoti draped over his left shoulder, covering his legs and falling in elaborate folds over the rim of the base, his serene face with a meditative expression, flanked by long pendulous earlobes suspending large earrings, his broad torso bare and covered with bejewelled necklaces, his arms with bejewelled armbands, wood stand. 15cm（5 7/8in) high. (2).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十八世紀 銅無量壽佛坐像ProvenanceAcquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今For further information on this lot please visit Bonhams.com
Lot 35
IMPORTANTE STATUETTE DE BOUDDHA SHAKYAMUNI EN BRONZE DORÉKhasa Malla, XIII/XIVe siècle AN IMPORTANT AND RARE GILT-COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHAKhasa Malla, 13th/14th century Heavily cast and richly gilt, seated cross-legged in dhyanasana on a double lotus base, his right hand in bhumisparsha mudra touching the ground, wearing a diaphanous robe with rice grain-patterned borders, elegantly draped over the left shoulder with fish-tail ends and gathering in fan-shaped folds between his legs, his rounded face with wide downcast eyes below high, arched brows, and cusped mouth, flanked by long, slightly curved pendulous earlobes, his hair arranged in tight curls rising to a domed ushnisha, the base plate sealed. 32.3cm (12 3/4in) high.Footnotes:THE PROPERTY OF A GENTLEMAN 士紳藏品卡薩馬拉 十三/十四世紀 銅鎏金釋迦牟尼佛坐像Provenance: Compagnie de la Chine et des Indes, ParisAn Italian private collection, acquired from the above on 2nd February 2001來源:巴黎藝廊，Compagnie de la Chine et des Indes意大利私人收藏，2001年2月2日購自上者The present lot displays several stylistic features that place it firmly in the workshops of the Khasa Malla Kingdom. Between the 12th and 14th century, the ruling family of the Khasa Mallas reigned over a territory that included large parts of present-day western Nepal and western Tibet. Devout Buddhists, the Khasa Malla rulers were great patrons of the arts. The metal-working tradition that evolved under their patronage shows the strong influence of artists and artistic traditions from Western Tibet, Pala India and the Kathmandu valley, reflecting the syncretic religions and cultures within the Khasa Malla kingdom.The characteristic features of metal sculptures made in the workshops of the Khasa Malla kingdom were first discussed by Ian Alsop in what he describes as 'the quest for a unified description of what can be called the Khasa Malla style', compare Ian Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom', in Orientations, June, 1994, vol. 25 (6), pp. 61-68, p. 66, and which he saw as a clear adaptation of Kathmandu Valley style, exhibiting Newar stylistic elements. The present large gilt-copper alloy figure of Buddha Shakyamuni is a classic example of the 'Khasa Malla style' as it 'exhibits stylistic characteristics which can be ascribed to various disparate traditions without permitting firm attribution to any one of them', see Ian Alsop, op.cit., p. 63). With its broad rounded shoulders and fleshy torso, the figure appears quite compact, slightly heavyset with robust almost sturdy physical features, an element that appears in other examples of Shakyamuni Buddhas, see, for example, a gilt-bronze figure of Shakyamuni Buddha, sold in Bonhams Hong Kong, 21 April 2021, lot 20. The physiognomy of his face is defined by distinctive wide-set and open eyes, set below long, arched brows, and his cusped mouth and sharply beak-like nose. His unusually curved earlobes and the exaggerated delineation of the finger joints and knuckles on both sides of the hands and toes are also characteristic of Khasa Malla sculpture. A rather unusual feature that the current buddha shares with the larger Buddha Shakyamuni sold in Bonhams Hong Kong, 21 April 2021, lot 20, is the dhoti which is draped in a fish-tail on his left shoulder. His robe similarly has two triangular-shaped folds layered over of the fan-shaped folds gathered between his legs. A more common feature of Khala Malla sculpture is the lozenge-shaped patterning of the hem of his robe. This most distinctive feature of this Buddha Shakyamuni is the broad, comparatively squat lotus base, with is single row of wide rounded lotus petals below a beaded peal border. The base has a plain and unfinished-looking rear and is covered overall with a matte red pigment, features that typically appear on other lotus bases of Khasa Malla figures.For further information on this lot please visit Bonhams.com
Lot 37
RARE STATUETTE D'UN BODHISATTVA EN BRONZE DORÉÉpoque Kangxi (1662-1722)A RARE GILT-BRONZE FIGURE OF A BODHISATTVAKangxi (1662-1722)Finely and heavily cast seated in lalitasana, the right leg stretched out over the base, the left leg drawn in, with her right arm held in varadamudra and her left arm in vitarkamudra, wearing a long diaphanous dhoti elaborately decorated with finely incised scattered floral roundels and with chased and engraved lotus scroll borders, flowing over his legs and gathered in folds around his feet, the chest bare and covered with an ornate necklaces with beaded festoons, a similarly beaded belt around his waist, the face rendered with a benevolent expression accentuated with slightly downcast eyes and a gentle smile, framed by a pair of pendulous earlobes, the hair drawn up in an ornately braided high chignon, seated on a separate, heavily cast lotus pedestal made of rows of overlapping lotus petals, the base sealed with a gilt-metal plate incised with a double vajra. 23.5cm (9 1/4in) high. (2).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品清康熙 銅鎏金菩薩坐像Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今This exquisitely cast small gilt-bronze figure of a bodhisattva, possibly representing a Tara, belongs to an important group of bronzes of similarly refined quality and jewel-like size that were made with separate lotus bases, with bands of raised lotus flowers skillfully worked and chased in repoussé. Three gilt-bronze figures of different iconography, two of almost identical size, one slightly larger, and very similar style and quality in the Palace Museum collection, Beijing, are placed on identical, separately-cast stands with layered lotus petals surrounding the base, see The Complete Collection of Treasures of the Palace Museum – 60 - Buddhist Statues of Tibet, Hong Kong, 2002, pp.239-41, no.228 (Amitayus), no.229 (Vajradhara) and no.230 (Green Tara) (Figs. 1-3). We can therefore assume that these figures were all made in the same workshop associated with the palace, and probably made for the Qing court.Several other examples of figures on similar bases have been sold at auction, compare, for example, a figure of Avalokiteshvara sold in Christie's Hong Kong, 28 November 2012, lot 2265, and a second figure of Amitayus, sold Christie's Hong Kong, 30 May 2018, lot 2867, and a third figure (possibly with a matched stand) sold Christie's New York, 13 September 2019, lot 857. Yet another figure is recorded on Himalayan Art Resources (himalayanart.org) as item no.8084, previously sold in Sotheby's New York, 16 and 17 March 1988, lot 196.The present figure with its slightly stiff posture, attenuated features, the drapery, tall braided chignon and the shape of the base shares stylistic characteristics with gilt-bronze sculpture from areas of Inner Mongolia outside the Qing capital in Beijing, especially Buddhist figures created in or around the thriving Buddhist center of Dolonnor. During the Qing period, the Kangxi, Yongzheng and Qianlong emperors patronized Dolonnor as a center of Buddhist learning and artistic production. The Mongolian master, lama and artist Zanabazar assimilated his khanate into the Qing empire at Dolonnor in 1691. The Dolonnor monastery and its workshops workshops produced both solid cast, hollow cast and repoussé figures and objects for Mongolian and Tibetan patrons as well as for the Qing court. Compare, for example, a gilt-bronze figure of Tara attributed to Dolonnor, dated to the 18th century, sold at Christie's New York, 16 September 2014, lot 261, and another figure of Tara, attributed to Dolonnor, which was sold at Christie's New York, 20 March 2019, lot 674.For further information on this lot please visit Bonhams.com
Lot 36
IMPORTANTE ET RARE STATUETTE DE TARA VERTE EN BRONZE DORÉXVe siècleA WELL-CAST RARE LARGE GILT-BRONZE FIGURE OF GREEN TARA15th century Seated in lalitasana on a double-lotus base, the right foot resting on an individual lotus issuing from the base, with hands held varada and vitarkamudra and holding long multi-stemmed lotus flowers blossoming at the shoulders, dressed in an fine dhoti tied below the waist and elegantly falling over legs and base, a fine shawl covering the shoulders, adorned with beaded necklaces, arm and ankle bracelets, the face rendered with a benevolent expression, with downcast eyes below arched brows and a gentle smile, framed by pendulous earlobes with large wheel-shaped earrings, an elaborate crown framing a high chignon. 39cm (15 3/8in) high.Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十五世紀 銅鎏金綠度母像Provenance:Acquired by the parents of the present owners, and thence by descent 來源:現任藏家父母獲得，並由後人保存迄今This exquisite, finely cast large gilt-bronze figure depicts Tara, the Mother of all Buddhas', a Bodhisattva of compassion and action, and important protector. Here she is shown seated in the posture posture of ease, with the left leg folded in the contemplative position and the right leg stretched out and ready to spring into action.Tara, Mother of the Victorious Ones, is worshipped by Buddhists as a saviour and liberator from the earthly realm of birth and rebirth. In Tibetan mythology the goddess is believed to have emerged from a lotus bud rising from a lake of tears shed for the suffering of sentient beings by the bodhisattva Avalokiteshvara, with a face 'embodying the delicacy of a million lotus blossoms', see G.Mullin, Mystical Verses of a Dalai Lama, New Delhi, 2003, p.57.Tibetan Buddhism or Lamaism saw a considerable increase in popularity in China under the Mongols, who had adopted it as their national religion even before their conquest of China. As a consequence of political and religious ties between the imperial court and the dominant Tibetan religious orders, and the exchange of gifts between the court and Tibetan hierarchs, during the Yuan and in the early Ming dynasty the influence of Himalayan sculptural styles began to make an impart on Buddhist imagery. Early fourteenth century woodblocks made for the monastery of Yangshen Yuan, Hangzhou, are evidence of a new style appearing in Chinese Buddhist art, see H.Karmay, Early Sino-Tibetan Art, Warminster, 1975, pp.47-50, pls.26, 29 and 30. The gently smiling faces, full rounded figures and tiered thrones in these woodblock prints reflect the Newar styles favoured in Tibet, and introduced into China by Nepalese artists working at the Ming court. Bronzes of the Yongle and Xuande period were now adorned with sumptuous crowns, earrings, bracelets, and strings of pearls, as seen in the present example whose broad shoulders, smooth torso, and long legs derive from earlier Indian traditions as do the diaphanous clothing and armbands. The opulent jewellery and elaborate crown that adorn this figure are majestic and reflect the 'glittering display of imperial splendour' of the Ming court, see H.Uhlig, On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, 1995, p.18. Most surviving sculpture from the Yongle and Xuande periods bears imperial inscriptions and suggests that Tibetan-style Buddhism probably was little practiced outside the imperial court, and that so most images were made for the court. Although this figure is not inscribed with an imperial mark, the refined quality and large size place it alongside the finest examples of Buddhist sculpture made in the early to mid-Ming period. Stylistically it may be compared to two gilt-bronze figures formerly in the Beti Aschmann collection and now in the Rietberg Museum in Zurich, one a seated figure of Manjusri, the second a kneeling figure of a Bodhisattva both with Xuande bestowal marks, published in Helmut Uhlig, On the Path to Enlightenment. The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, 1995, pp.118-9, no.68 (fig.1), and pp.122-3, no.72. Compare also with a gilt-bronze figure of Amitayus bearing a Xuande mark, sold Christie's Hong Kong, 31 May 2010, lot 1961, and another example from the Soame Jenyns collection, sold at Christie's London, 6 November 2018, lot 26.For further information on this lot please visit Bonhams.com
Lot 38
STATUETTE DE HAYAGRIVA EN BRONZE DORÉXVIIIe siècleA GILT-BRONZE FIGURE OF HAYAGRIVA18th centuryStriding in alidhasana on an oval lotus base, with his six hands in vitarkamudra, holding a vajra in the raised upper right hand, dressed in a tiger skin with a garland of human heads, his bare chest adorned with beaded necklaces, coiled naga and clasped with a human hand and foot around the neck, the three faces ferocious with fangs bared and bulging eyes, surmounted by a skull tiara and three horse heads backed by his flame-like hair. 16cm (6 1/4in) high (2).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十八世紀 銅鎏金馬頭金剛立像Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今For further information on this lot please visit Bonhams.com
Lot 96
PAIRE DE VASES BALUSTRE EN BRONZE DORÉ ET EMAUX CLOISONNÉSXIXe siècleA PAIR OF GILT-BRONZE CLOISONNÉ ENAMEL BALUSTER VASES19th centuryEach with a globular body supported on a spreading foot and rising to a cylindrical neck, decorated around the body with four bats centering on chimes, the neck decorated with scrolling lotus and butterflies amidst pomegranate, flowers and bamboo. 36.4cm (14 3/8in) high. (2).Footnotes:十九世紀 掐絲琺瑯「福壽連連」賞瓶一對For further information on this lot please visit Bonhams.com
Lot 32
PETIT VASE BALUSTRE EN BRONZE DORÉ ET ÉMAUX CLOISONNÉSQianlong (1736-1795)A SMALL CLOISONNE ENAMEL'LOTUS' VASE Qianlong (1736-1795）The tapered baluster body surmounted by a tall neck set with a pair of archaistic dragon-shaped gilt-metal handles, decorated around the exterior with lotus blooms issuing leafy tendrils and buds, bordered by archaistic strapwork, with a band of gilt ruyi-heads around the shoulder, the foot circled with pendant lappet leaves, the neck with upright lappet leaves, all on a vibrant turquoise ground. 16.2cm (6 3/8in) high.Footnotes:清乾隆 掐絲琺瑯番蓮紋螭龍雙耳瓶This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 92
PAIRE DE GRUES DÉBOUT EN BRONZE DORÉ ET ÉMAUX CLOISONNÉSXIXe siècleA PAIR OF CLOISONNÉ ENAMEL CRANES19th centuryEach standing with tall slender legs ending in clawed feet, the body covered with white enamel streaked with gold to simulate soft feathers leading up the elegantly-curving neck to the small rounded head capped with a red cranium above the expressive eyes flanking the sharp gilded beak, with feathers brightly enamelled in blue, green and black, wood stands. 42cm (16 1/2in) high. (2).Footnotes:十九世紀 掐絲琺瑯仙鶴一對For further information on this lot please visit Bonhams.com
Lot 31
PAIRE DE COUPES SUR PIÉDOUCHE EN BRONZE DORÉ ET ÉMAUX CLOISONNÉSMarques et époque Qianlong（1736-1795）A RARE PAIR OF CLOISONNE ENAMEL STEM CUPSQianlong six-character marks and of the periodWith deep wide cups raised on a splayed foot, decorated around the exteriors in vibrant tones of blue, red and yellow with two pairs of archaistic dragons centering on a stylised shou character, the foot decorated with small flowerheads issuing leafy tendrils, all on a turquoise ground, the bases and interiors gilt, each base with an incised six-character mark within a double square. Each 7.9cm (3 1/8in) diam. (2).Footnotes:清乾隆 掐絲琺瑯夔龙團壽紋高足杯「大清乾隆年製」楷書款Few 18th century cloisonné enamel stem cups are known. See a stem cup of the same shape and design, also bearing a six-character Qianlong mark to the base, in the Uldry Collection, published in Helmut Brinker and Albert Lutz, Chinese Cloisonné. The Pierre Uldry Collection, New York and Zurich, 1989, fig.262 and 262a. Three further cloisonné stem cups of different forms and sizes, all with Qianlong marks, in the collection of the Palace Museum, illustrated in Palace Museum (ed.), Compendium of Collections of the Palace Museum. Enamels, 2, Cloisonne in the Qing Dynasty (1644-1911), Beijing, 2011, cat.nos.275, 276 and 278.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 46
IMPORTANT ET RARE VASE COUVERT EN JADE BLANCXIXe siècleA SUPERB AND RARE WHITE JADE VASE AND COVER WITH AN ARABIC INSCRIPTION 19th centuryOf baluster form raised on a short splayed foot and tapering to a cylindrical neck set with a pair of stylised archaistic dragon handles, finely carved around the exterior with a large taotie mask on each side, above a band of lotus lappets around the base and below a band of stylised archaistic dragons around the shoulder, the sides set with a pair of animal mask handles suspending loose rings, the straight neck carved with a wide band featuring an Arabic inscription reading سلام which may be translated as 'for peace', flanked by a pair of stylised archaistic dragon handles, the domed cover with a finial in the form of lion, the translucent stone of even white tone, silver-inlaid wood stand. 12.5cm (4 7/8in) high. (3).Footnotes:THE PROPERTY OF A DISTINGUISHED EUROPEAN FAMILY 歐洲顯赫家族藏品十九世紀 白玉刻阿拉伯文雕饕餮紋象耳活環獅鈕蓋瓶Provenance:Acquired by the parents of the present owners, and thence by descent來源:現任藏家父母獲得，並由後人保存迄今The body of this superb vase is carved from a single piece of white jade, the cover made of a stone of the same fine quality. The brilliant white colour, flawless stone and exceptional translucency all represent qualities that were highly sought after at the Qing court.The vase is highly unusual in its shape and also in its decoration. The bulbous body has sloping shoulders with rounded edges and is surmounted by a cylindrical neck wider at the top than at the bottom. The neck is carved with an Islamic inscription which alludes to the Islamic influence of this vase, as demonstrated by a 15th century jade ewer with an arabic inscription around the neck, from the collection of the Fundaçao Calouste Gulbenkian, Oeiras, Portugal, published in J.P.Palmer, Jade, London, 1967, pl.38. The very particular form immediately brings to mind the shape of Islamic glass and metal vessels. Compare, for instance, a 12th century Syrian yellowish green glass bottle, published in Stefano Carboni and David Whitehouse, Glass of the Sultans, New York, 2001, p.97,cat.no.23, or a 9th century Egyptian transparent glass and green overlay bottle, op.cit. p. 183, cat.no.89.Glass, metal ware and jades arrived in China from Western Asia and beyond as early as the Sui and Tang periods. It was under the Qianlong emperor that the Islamic and Mughal jades became highly collectible. The magnificent Shah Jehan jade cup in the collection of the Victoria and Albert Museum, London, (accession number IS.12-1962) is an example of a Western Asian jade object that was directly copied by the artists working in the imperial jade workshops under the Qianlong emperor, as an example in the National Palace Museum collection in Taipei illustrates, see Teng Shu-p'ing, Exquisite Beauty: Islamic Jades, Taipei, 2007, cat.no.266. This particular vessel demonstrates how the artists working in the Palace Museum workshops were skilled at adopting foreign shapes and design and adapting and interpreting them to suit contemporary taste. While there seems to be no direct Chinese prototype for the shape of this vase, the carved design around the main body is purely Chinese, and inspired by the classical decoration found on archaic bronzes. The Qianlong emperor was fascinated by antiquity and archaic bronzes. An avid collector, he published his extensive collection of 1500 ancient bronze vessels and utensils in an illustrated catalogue under the titel Catalogue of Xiqing Antiquities (Xiqing gujian. Many jade vessels made for the Qianlong emperor in the workshops within the Zaobanshu, the Imperial Palace Workshop, drew inspiration from the archaic bronzes, their shapes and designs, illustrated in the Xiqing gujian, including the present white jade vase. The quality of the execution of the taotie masks on this vase is sublime and reflects the high technical standards of these workshops which produced jade wares for imperial court, compare a white jade altar set, similarly decorated with taotie masks in the collection of the National Palace Museum, Taipei, published in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pp. 136 and 137, cat.no.113. Hence this wonderful small vase and cover shows the impressive skills and imagination of the Qing craftsmen who used a flawless white jade and merged a rare shape with an archaistic design to create a visually compelling and possibly unique work of art with jewel-like qualities.For further information on this lot please visit Bonhams.com
Lot 47
AN IMPORTANT ARCHAIC BRONZE RITUAL FOOD VESSEL, YA CHOU FU XIN GUILate Shang dynasty/early Western Zhou dynasty, ca. 11th century BCheavily cast with a deep rounded body raised on a high splayed foot, rising to a flared rim, the sides set with a pair of handles issuing from streamlined flat-eared bovine heads, and issuing short hooked tabs, the body cast on east side with a large taotie mask flanked by a pair of taloned and quilled dragons, below a narrow neck band containing two beaked single-bodied dragons centering on a raised animal head in axial position on each side, the foot similarly decorated with two beaked confronting dragons on either side of a ridge with a taotie shield, the inside cast with a four-character inscription reading 'ya chou fu xin', the bronze a smooth, dark brownish-red colour.30cm (11 3/4in) wide; 15.8cm (6 1/4in) high.Footnotes THE PROPERTY OF A LADY 女士藏品商晚期/西周早期，約公元前十一世紀 亞醜父辛簋Provenance:Collection of Huang Jun (1880-1951), Zungu Zhai, Beijing, by 1936Collection of Hans-Jürgen von Lochow (1902-1989), Beijing, by 1943Dr. Ernst Hauswedell & Co., Hamburg, 5 May 1958, lot 3A German private Collection since 1958, and thence by descentPublished, Illustrated and Exhibited:Huang Jun, Zungu zhai suojian jijin tu , Beijing, 1936, chapter 1, fol.47Luo Zhenyu, Sandai jijin wencun, Beijing, 1936, chapter 6, fol.17Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing 1943, pl.XI a-dYin Chih-yi, 'Shandong Yidu Subutun mudi de Ya Chou tongqi', in Kaogu xuebao, 1977 (2), pp.23-33, p.24, fig.5, and p.25Vadime Elisseeff, Bronzes Archaïques Chinois au Musée Cernuschi. Archaic Chinese Bronzes , Vol. I - Tome 1, Paris, 1977, p.141Yan Yiping, Jinwen zongji (Corpus of Bronze Inscriptions), Taipei, 1983, vol.3, no.1049Minao Hayashi, In Shū Jidai seidōki no kenkyū: In Shū seidōki souran (Research on Bronze ware of the Shang and Zhou Dynasties), Tokyo, 1984, p.94, no.113Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1990, vol.1, p.362, fig.38.1Zhongguo shehui kexueyuan kaogu yanjiusuo, Yin Zhou jinwen jicheng shiwen, Hong Kong, 2001, vol.3, p.58, fig.3332Shandong Museum, Shandong jinwen jicheng, Jinan, 2007, p.262來源：黃濬 (1880-1951）舊藏，尊古齋，北京，1936年入藏馮洛侯（1902-1989）舊藏，鐃齋，北京，1943年入藏Dr. Ernst Hauswedell & Co.，漢堡，1958年5月5日，編號3德國私人收藏，1958年入藏，並由後人保存迄今出版：黃濬，《尊古齋所見吉金圖卷》，北京，1936，卷1，圖版47羅振玉，《三代吉金文存》，北京，1936, 卷6，圖版17艾鍔風，《鐃齋吉金錄》，北京，1943年，圖版XI a-d殷之彝（张长寿）：《山東蘇埠屯墓地和"亞醜"銅器》，《考古学报》1977年第2期，頁23-33，頁24-25，圖25， 頁25Vadime Elisseeff，《塞努奇博物館藏中國古代青銅器》，巴黎，1977年，卷1，頁141嚴一萍，《金文總集》，臺北，1983，卷3，編號1049林巳奈夫，《殷周時代青銅器的研究》，東京，1984年，頁94，編號113杰西卡·罗森，《赛克勒所藏西周青銅禮器》, 華盛頓，1990年，卷1，頁362, 圖38.1中國社會科學院考古研究所編, 《殷周金文集成釋文》， 香港，2001年，卷3， 頁58，圖三三三二山東省博物館，《山東金文集成》，濟南，2007年，頁262Cast in Brilliance: The von Lochow 'Ya Chou Fu Xin Gui'This archaic bonze gui, which may be referred to as the Ya Chou Fu Xin gui, was acquired by the father of the present owner in 1958 when he bought it at auction from Dr. Ernst Hauswedell & Co., a long-established auction house in Hamburg, Germany (Dr. Ernst Hauswedell, Hamburg, 5th May 1958, lot 3). In the 1950s, the market for Chinese art in Germany was insignificant yet between 1955 and 1959 Hauswedell in Hamburg sold several important Chinese archaic bronzes. Like the present gui , quite a few of these vessels had illustrious late 19th and early 20th century provenances, at least one bronze vessel had been in the Imperial collection, see Dr. Ernst Hauswedell & Co, Hamburg, 9th December 1957, lot 4. Similarly, the provenance of this bronze gui can also be traced back to the first half of the 20th century.The 1958 Hauswedell catalogue entry notes that the Ya Chou Fu Xin gui had first been published by Huang Jun (1880-1951), a prominent Beijing dealer in Chinese antiquities and owner of Zungu Zhai, a well-known Beijing antique shop founded by his uncle. Huang Jun, also known by his literary name Huang Bochuan, had been trained in foreign languages, and was fluent in German, English and French. He was well acquainted with Western collectors and dealers living in Beijing at the time. Huang Jun handled, studied, collected, and eventually sold many important archaic bronzes. His interest was academic as well as commercial, and he published several catalogues on archaic bronzes including the Zungu zhai suojian jijin tujuan (1936) and Ye zhong pianyu erji/sanji (1937 and 1942).These catalogues were printed in small numbers and were made using the most advanced techniques. Objects were illustrated in collotype technique, a laborious photomechanical flat printing process that allowed to reproduce the fine lines and varying tones and shades of the works more accurately than traditional rubbings used to duplicate archaic bronzes in older catalogues. A collotype print of the Ya Chou Fu Xin gui appears in the Zungu zhai suojian jijin tujuan next to a rubbing of the inscription cast on the interior, see Zungu zhai suojian jijin tujuan, Beijing, 1936, vol. I, 47. Subsequently, the collotype technique was used by other collectors and researchers documenting archaic bronzes including Duan Fang and Rong Geng. Gustav Ecke, another German living and collecting in Beijing at the time also adopted the collotype technique in his publications of two important German collections of archaic bronzes, and it is in one of these that the Ya Chou Fu Xin gui reappears in 1943. It was included in Gustav Ecke's seminal catalogue of twenty-two archaic bronzes from the important collection of Hans-Juergen von Lochow (1910-1989) and is illustrated in collotype and with several detail rubbings as well as the inscription , compare Gustav Ecke, Sammlung Lochow: Chinesische Bronzen, Beijing, 1943, pl. XI a-d. Hans-Juergen von Lochow was a German railroad engineer who lived and worked in Beijing between 1921 and 1955. He formed an important collection of Chinese art which comprised modern and classical Chinese paintings, furniture, and archaic bronzes, many of which are now in the Asian Art Museum in Cologne. Von Lochow acquired many pieces in his collection in Beijing from fellow German Otto Burchard (1893-1951), a renowned Berlin Chinese art dealer who had emigrated to China in the 1932. Other pieces were bought from Huang Jun (1880-1951). Of the twenty-two archaic bronzes illustrated in his catalogue, many later found their way into Western museum collections, very few remained in private hands, the present Ya Chou Fu Xin gui being one of them.The Ya Chou Fu Xin gui that was documented in the von Lochow collection in 1943 disappeared after it was last published, and only briefly reappeared in the 1958 Hauswedell sale catalogue. When he returned to Germany in 1955, Hans-Juergen von Lochow was officially allowed bring what was left of his collection of Chinese art including the remaining archaic bronzes. There is no information whether the Ya Chou Fu Xin gui remained in the von Lochow collection or if it changed hands. The provenance information on several archaic bronzes in the Hauswedell catalogues formerly in the von Lochow collection is surprisingly detailed and matches the information noted in Gustav Ecke's catalogue, suggesting that these bronzes may have been consigned by von Lochow at the time. For further information on this lot please visit Bonhams.com
Lot 533
A 19th century Chinese circular bronze gong suspended from the ebonized hardwood frame (later replacement cable) profusely carved and pierced to each side with bats, clouds, dragons and floral designs, late Qing dynasty, 50 cm w x 30 cm d x 92 cm h c/w a wooden handled striker Provence: Chinese gong brought home in Rathbone Bros. of Liverpool tea clipper ‘Scawfell’ from Whampoa to Liverpool in 1861 by Capt. Robert Thomson, in record passage of 88 days.
Lot 454
A Chinese double-walled cylindrical bronze brush pot, bitong, cast in relief with pagodas and figures in various leisurely pursuits within a continuous river landscape setting with high cliffs and tall overhanging pine trees, the base with sixteen-character Xuande mark but not of the period, 13.5 cm high x 10.5 cm diameter
Lot 520
A small collection of Asian china and collectables including a 19th century Chinese blue and white vase and cover painted with figures in pagoda landscapes, four-character Kangxi mark to base but late Qing dynasty c/w hardwood stand, 26 cm high, a 19th century Japanese Imari vase with long slender neck on lobed globular body painted with birds and flowers in the typical palette with gilt highlights, Meiji period, 29.5 cm high, a set of four Chinese bronze square section nesting seals (largest 3.5 cm) a Chinese soapstone seal carved with guardian lion finial, 9 cm high, two cloisonne lidded trinket boxes, one in the form of an owl, soapstone immortal figure and Imari palette plate
Lot 1216
A brown bronze sculpture of battling stags, antlers locked together, 11 cm h x 24 cm long When positioned sculpture sits on back legs and the back of the central naturalistic base the front is raised, which would suggest that the base is mishapen, otherwise good condition with no repairs or losses.
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