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Lot 308
Ɵ The Crucible of Compassion and Wisdom Special Catalogue of the Buddhist Bronzes from the Nitta Group Collection at the National Palace Museum, 1987; Twelve Chinese Dealers and Exhibition catalogues, Bluett & Sons, Eskenazi, Spink, Oriental Gallery Ltd, Oriental Bronzes Ltd, J.J. Lally and Gerald Godfrey; other publications including Sen-Oku Hakukokan Museum Tokyo bronze catalogues and other publications on early Bronzes and Song and Yuan wares; Basil Gray, Sung Porcelain and Pottery; Margret Medley Tang pottery & Porcelain; G. St. G.M. Gompertz, Chinese Celadon Wares, OCS Volumes 1954, Vol. 55, 1962-63 Vol. 34 and 1988-89, Vol. 53 Provenance: From the estate of the late Roddy Ropner (1962-2022)中国及各式艺术品图录及参考书一组拍品来源：late Roddy Ropner (1962-2022)大宅私人收藏 Condition Report: in fair condition but some with wear sold as seenCondition Report Disclaimer
Lot 359
A large Chinese bronze 'Mythical Animals and Grapes' mirror, Tang Dynasty (618-907), cast with a crouching-lion knop in the centre, surrounded by other crouching beasts, all amongst fruiting grapevines within a circular border, the concave border containing seated and flying birds and beasts also surrounded by grapes and vines, all within a foliate border, 20.4cm diameterProvenance: Property from a distinguished private collection唐 海兽葡萄纹铜镜拍品来源： 显赫家族私人收藏Condition Report: surface with green encrustations and corrosion especially to reverse side Condition Report Disclaimer
Lot 361
A pair of Chinese gilt bronze taotie handles with suspending rings, in Warring States style, 12cm long x 7.5cm wideProvenance: From the private collection of a Gentleman, by descent from his father铜鎏金铺首衔环一对拍品来源：英国绅士私人收藏，其父亲早年所购，并由家族传承Condition Report: wear and encrustation to the surfaceCondition Report Disclaimer
Lot 362
A Chinese bronze inlaid chariot fitting, Western Han Dynasty, 10.8cm high; and a Chinese archaistic style bronze inlaid bell, 8.2cm high (2)Provenance: From the private collection of a Gentleman, by descent from his father铜嵌银丝铃及西汉铜嵌银丝车马器两件拍品来源：英国绅士私人收藏，其父亲早年所购，并由家族传承Condition Report: extensive encrustation and erosion to the surfacechariot fitting with small area of damage to the topsome inlaid details missingCondition Report Disclaimer
Lot 363
A Chinese archaistic bronze bell, Song-Ming dynasty, of lozenge form, the base with taotie mask made composed of 'dragons', and the upper section composed of tiny stylised 'dragons' interspersed with circles, loop overhead handle, 22.5cm high, 1,202 gramsProvenance: The property of a lady and by family descent 宋至明 青铜仿古纹挂钟（克重：1202g）拍品来源：英国女士私人收藏， 后由家族继承
Lot 365
A small and unusual gilt-bronze seal, 18th century or earlier, possibly with the Japanese family seal of the Kuki clan, with four gilt suspension rings, overall height including rings 7cm and the seal 2.7cm square Condition Report: some wear and knocks commensurate with age Condition Report Disclaimer
Lot 367
A Chinese bronze seal, of square form, surmounted by a tapering handle, the top and base of the seal impressed in Manchu and Chinese with the characters zhang jia kou tai zhan you lu jun li bu zao, 8.8cm high "张家口台站右路军"铜印Condition Report: wear and scratchs to the surface, built up grease on the joining section between the handle and the seal bodyCondition Report Disclaimer
Lot 371
A small Chinese gilt-lacquered bronze figure of Guandi, Ming Dynasty, 17th century, 10cm high, 171 gramsProvenance: From the private collection of a Gentleman, by descent from his father明 铜鎏金红漆关帝像拍品来源：英国绅士私人收藏，其父亲早年所购，并由家族传承Condition Report: wear to surface but with some original gilding and red lacquer Condition Report Disclaimer
Lot 372
A Chinese gilt bronze figure of Amitayus, the bodhisattva cast standing on an openwork raised stand and with inscriptions to the back of the aureole, 15.5cm high, 178 gramsProvenance: From the private collection of a Gentleman, by descent from his father铜鎏金立佛（带铭文, 克重：178g） Condition Report: extensive wear and erosion to the surfaceCondition Report Disclaimer
Lot 374
A small bronze seated figure of Guandi, late Ming dynasty, with some traces of old red lacquer and gilding, 15.5cm high, 575 grams and a small bronze seated figure of Wenchang, late Ming Dynasty, cast as the God of Literature seated on a plinth with the left hand resting on the knee, depicted with a serene expression above locks of moustache and beard trailing downwards, all surmounted by his tall official's cap with a raised back and two long streamers, a few traces of old gilding, 15.5cm high, 473 grams (2) Provenance: The property of a gentleman and by family descent 晚明 铜关帝像及文昌像一组共两件 (克重分别为： 575g 及473g)拍品来源： 英国绅士私人收藏，并由家族继承Condition Report: surfaces both with gilding and lacquer mainly lostWenchang with crack bottom front approximately 4cm long both with typical old knocksCondition Report Disclaimer
Lot 376
A bronze alloy seated figure of Amitayus, the crowned Buddha seated dhyanasana with his hands joined palm-upward to hold a missing kalasha, the rectangular support on which he sits fronted with a draped cloth above the inscription Da Qing Qianlong geng-zi nian (1780) jing zao, 19.5cm high, 690 grams Provenance: The property of a gentleman and by family descent "大清乾隆庚子年敬造"款 鎏金铜无量寿佛坐像(克重：690g)拍品来源：绅士私人收藏，并由家族继承Condition Report: wear to the gildingCondition Report Disclaimer
Lot 377
A Sino-Tibetan bronze figure of Amitayus, seated in dhyanasana on a double lotus base, the right hand holding an ornament, the left in vitarkamudra, wearing a dhoti and shawl draped over both shoulders, the face with a serene downcast expression, below a crown, 21cm high, 1442 grams A Chinese bronze figure of Guanyin, the Goddess of Mercy is shown seated dressed in loose, flowing robes, the tiered crown incorporating Amitabha Buddha, 21cm high, 2,972 grams (2) Provenance: The property of a gentleman and by family descent 铜无量寿佛及铜观音像共两件 (克重：1442克及2972克）拍品来源： 英国绅士私人收藏，并由家族继承 Condition Report: roughly castsurface patina worn and most of original surface lostold losses to hands and crown and two uptala lotuses missing on shouldersCondition Report Disclaimer
Lot 379
A Chinese bronze 'Buffalo' footed censer and cover, Ming Dynasty, the cover modelled as a recumbent buffalo, the foot moulded with sinuous dragons, 14.5cm high, 744 grams明 铜牛望月香薰 (克重：744g)Condition Report: the foot slightly uneven with some retouch to the insidesmall knocks commensurate with age Condition Report Disclaimer
Lot 380
A Chinese bronze inlaid tripod censer, Qing Dynasty, the body inlaid in silver with a dragon chasing flaming pearl amongst scrolling clouds, with gilt details, the base inlaid with a four-character yu tang shi sou mark, 14.5cm high, with wood cover, 760grams清 铜嵌银丝龙赶珠"玉堂石叟"三足炉(克重：760g)Condition Report: minor loss of inlaid, wear and small knocks to the rimCondition Report Disclaimer
Lot 387
A Chinese bronze vase, 17-18th century, cast with a sinuous chilong to each side, with elephant head handles, with flared neck and foot, 21.5cm high, 1,057 gramsProvenance: The property of a gentleman and by family descent 17世纪至18世纪 铜螭龙纹双耳瓶 (克重：1057g)拍品来源：绅士私人收藏，并由家族继承Condition Report: old chip to foot rim approximately 1cm x 3mm and other small casting flaws and knocks to bodyCondition Report Disclaimer
Lot 389
A pair of Chinese bronze tripod censers, Qing dynasty, each of archaic ding form, the rounded sides decorated with a band of lappets with scroll motif, on cylindrical legs cast with taotie, each approximately 14.5cm high x 12cm diameter, 933 grams and 969 grams (2)清 铜仿古纹三足香炉一对 (克重：933g 及 969g)Condition Report: good but with polished surface Condition Report Disclaimer
Lot 390
A large Chinese bronze censer and cover, Qing Dynasty, late 19th century, the ovoid body supported on three feet, the handles and domed cover with chilong dragons, the censer and cover 35cm high and overall height with wood stand 38cm 晚清 铜三足龙耳炉Condition Report: polished stand adapted Condition Report Disclaimer
Lot 391
A small Chinese archaistic bronze vase, hu, Ming Dynasty, of rectangular section and is cast to the neck with a band of cicada-form lappets, the neck is cast with two qilin-head handles, 18cm high, 726 grams Provenance: The property of a gentleman and by family descent 明 铜仿古纹双耳壶 （克重：726g)拍品来源： 英国绅士私人收藏，并由家族继承Condition Report: small hole to one side and other knocks and minor old damages commensurate with age Condition Report Disclaimer
Lot 564
A Pala bronze figure of Shiva, 10th century or later, with the figures of Shiva and Parvati as a loving couple, both seated in the posture of relaxation (lalitasana), 9cm high x 6cm wide, 190 gramsCondition Report: surface worn and gilding rubbedan attachment piece missing to one front foot and other attachment pieces missing to feetdents losses and casting flaws throughoutsee additional images for visual reference to condition Condition Report Disclaimer
Lot 565
A Pala bronze group depicting Two Matrikas (Mother Goddesses) and a Bearded Male Guardian, Bengal, 9th or 10th century, seated in a row on a raised cushion, on bracket feet, a devanagari dedicatory inscription on the reverse, 8cm high; 11cm long For a similar bronze group in the Victoria and Albert Museum, with four figures and also with dedicatory inscription on the reverse, see inv. no. IS.74-1990. Condition Report: one foot lacking and other old losses throughout see additional images for visual reference to condition Condition Report Disclaimer
Lot 566
A gilt bronze figure of Avalokitesvara, Nepal, 16th or 17th century, the eight armed Buddhist deity standing on a single lotus throne, holding various attributes, his primary right hand in abhaya mudra, wearing large lotus earrings and tall crown, 11cm; a small bronze figure of Siva Nataraja, South India, 15th century or earlier, the four-armed Hindu deity dancing on the prostrate figure of the demon Apasmara within a flaming aureole, with long flowing hair, diminutive figures of devotees at his feet, 7cm high (2) Condition Report: some dents knocks and wear throughout see additional images for visual reference to condition Condition Report Disclaimer
Lot 568
A small bronze seated figure of Buddha, Kashmir, circa 9th century, seated in padmasana on a raised lotus throne, his hands in bhumisparsa and dhyana mudra, his head surrounded by lotus halo, 8.7cm high, 140 gramsFor a standing bronze figure from Kashmir in closely related style in the British Museum, see inv. no. 1963,1214.1.Condition Report: wear and knocks commensurate with age good old patinaCondition Report Disclaimer
Lot 580
A small Japanese bronze rectangular 'crab' jardinière, 12.2cm long x 7cm deep x 4.5cm high , impressed foundry mark, Meiji Period Provenance: Major Edward Copleston Radcliffe (1898-1967) collection and by family descent.Condition Report: Some discolouring to the bronze tray Condition Report Disclaimer
Lot 581
Y A Japanese Three-Case Japanese Inro, of slender section decorated on the sparse nashiji ground with an ikebana arrangement of a budding plant in a chinkinbori decorated bronze vessel, the reverse with a battledore and a dried salmon, all in tones of silver and gold hiramakie and takamakie with gold foil details, signed to the base, Early 19th Century; with coral Ojime and Netsuke formed from a silver-mounted fragment of coral branch Provenance: formerly from a private collection, purchased in Tokyo in the 1940s and by descent from Californian estate Condition Report: Chip to lower edge of bottom case, some scratches, minor chips to edges, losses of gold foil and on side with flowers two chips in middle section and some wear and oxidation see additional images for visual reference to condition Condition Report Disclaimer
Lot 585
Y Genryusai Seiya: A Japanese Cast Bronze Group, depicting an elephant being attacked by two Siberian tigers, one clambers on the pachyderm's back which trumpets in distress, the tusks inlaid in ivory, bears a foundry seal to the belly, height 33 cm x 32.5 cm lenght, Meiji Period, with original carved wood standIvory certificate : TQQ3GMDQCondition Report: Small age crack to one tusk.Condition Report Disclaimer
Lot 587
SUZUKI MASAYOSHI: A Large Japanese Bronze Koro, modelled as a globular mass of swirling clouds from which writhing dragons appear, the whole raised on three dragon legs and surmounted by a cover bearing a further coiled dragon, cast to the base with a rectangular seal Masayoshi chu, height 38cms, Meiji PeriodCondition Report: No discernible damageCondition Report Disclaimer
Lot 173
* Davison's Nile Medal 1798, gilt bronze, reverse contemporarily engraved 'Donald Blair', 47mm diameterQTY: (1)NOTE:The medal was issued in four types, gold (Nelson and his captains), silver (junior officers), gilt-bronze (petty officers) and bronze (ratings). It was struck at Matthew Boulton's factory in Soho Birmingham and commemorates Nelson's victory at the mouth of the Nile on 1 August 1798. His prize agent Alexander Davison celebrated the victory by having these medals struck, his name appears around the edge of the medal.
Lot 4075
A boxed Land Rover group to include Vitesse 28002 Land Rover (Bronze Green/White), Universal Hobbies 1531 Land Rover Series III 88 Station Wagon (Red), Corgi CC07713 Land Rover Defender 'Yorkshire Rider' plus others similar. Conditions generally appear Excellent to Mint in generally Good to Excellent boxes. (15)
Lot 1
A VERY LARGE ARCHAIC JADE AXE BLADE, YUENeolithic Period/Shang DynastyThe rectangular blade tapering towards the pierced handle and flaring slightly towards the cutting edge, the dark green stone with mottled white and caramel inclusions and calcified areas. 34.3cm (13 1/2in) long.Footnotes:新石器時代/商 玉鉞Provenance: Roger Keverne Ltd., London.A British private collectionPublished, Illustrated and Exhibited： Roger Keverne Ltd., Summer Exhibition, London, 2006, no.79來源：倫敦古董商 Roger Keverne Ltd.英國私人收藏展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2006年，編號79Following the invention of bronze, blades and daggers were added to the repertoire of ceremonial utensils and made in more refined materials such as jade. Ceremonial blades must have been deemed rather important, as demonstrated by the sheer quantity and quality discovered in the tomb of Fu Hao, a consort of King Wu Ding (r. 1324-1266 BC), of the Shang dynasty. See J.Rawson, Chinese Jade. From the Neolithic to the Qing, London, 1995, pp.40-41.Compare with a related green jade blade, Neolithic period/Shang dynasty, which was sold at Bonhams Paris, 25 October 2022, lot 1.For further information on this lot please visit Bonhams.com
Lot 109
A BRONZE ELEPHANT INCENSE BURNER AND COVERMing DynastyThe beast standing foursquare, the head with intense expression and sharp tusks flanking a curling trunk, the cover in the form of a caparison surmounted by a pear-shaped vase, silver wire-inlaid wood stand. 11.5cm (4 1/2in) long. (3).Footnotes:明 銅'太平有象'香爐帶蓋The combination of a vase (ping 瓶), punning with 'peace' (ping 平), and elephant (xiang 象), homophone with the word for 'sign' or 'portent', forms a rebus for the phrase taiping youxiang (太平有象), meaning 'Where there is peace, there is a sign (or elephant!)'.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 115
A BLUE AND WHITE OVAL 'EAR' CUPXuande six-character mark, late Ming Dynasty Of oval form with shallow rounded sides, supported on a slightly raised oval base, set with a pair of ear-shaped handles, the interior decorated with a magpie on a flowering prunus tree beneath a band of connected bead pattern, the exterior decorated with floral sprays, box. 8.8cm (3 1/2in) long. (2).Footnotes:明晚期 青花喜上眉梢耳杯青花「大明宣德年製」楷書款Provenance: Christie's London, 6 June 2000, lot 319來源：倫敦佳士得，2000年6月6日，拍品編號319The present lot is inspired from archaic bronze ear-cups, known in Chinese as yushang (羽觴), that emerged from the Warring States period to the early Western Han dynasty. The present lot is also laden with auspicious symbolism and wordplay. The theme of magpies (xique 喜鵲), a homophone for 'happiness' (xi 喜), on top (shang 上) of prunus branches (meishao 梅梢), which puns with 'eyebrows' (meishao 眉梢) forms a rebus for the blessing, 'May happiness reach up to your eyebrows' (喜上眉梢).For further information on this lot please visit Bonhams.com
Lot 129
A SUPERB WHITE JADE 'BAJIXIANG' BOWLQianlongThe vessel finely hollowed with deep rising sides exquisitely carved around the exterior with a wide band of archaistic chilong beneath the 'Eight Buddhist Emblems' (bajixiang) including the dharma wheel, endless knot, fish, beribboned vase, lotus, standard of victory, parasol and conchshell, all within a waisted neck beneath the mouth rim, all supported on five ruyi feet, the stone of even lustrous white tone. 16cm (6 1/4in) diam. Footnotes:清乾隆 白玉八吉祥碗Provenance: a Western private collection, and thence by descent來源：西方私人收藏，並由後人保存迄今 The sheer opulence of the bowl is emphasised by the generous proportions of the well-hollowed interior, creating a spatial depth of form. In addition, the Eight Buddhist Emblems, evenly spaced on the exterior, finely balance the archaistic designs of interlacing chilong depicted on the lower register and at the same time, successfully allow for the fine quality of the white jade to show.It is likely that the present bowl was carved after the Qianlong emperor's campaign against the Dzungar Mongols in Xinjiang (1755-1759). This campaign secured control over the area of Khotan and allowed direct access to greater quantities of high-quality jade from the region, compared to earlier periods. Buddhism was the state religion of the Qing dynasty and many emperors were devout practitioners of the faith. Jades, ceramics, textiles, bronzes and other items manufactured throughout the reign of the Qianlong Emperor frequently incorporated Buddhist subject-matter and symbolism. The Eight Buddhist Emblems, Bajixiang, arguably amongst the most readily identifiable symbols found in Buddhist iconography, represent the offerings made to the Buddha Shakyamuni by the gods following his enlightenment. The emblems can be briefly translated as follows: The Wheel of Law falun, the inexorable expansion of the Buddha's teaching; the Conch Shell luo, majesty, the voice of the Buddha; the Umbrella san, spiritual authority, reverence; the Canopy gai, royal grace; the Lotus hua, purity; the Vase ping, eternal harmony, vessel of the nectar of immortality; the Paired Fish shuangyu, conjugal happiness, fertility, protection, spiritual liberation; finally, the Endless Knot chang, eternity.At the same time, the archaistic chilong on the present lot demonstrate the taste for archaism and classical antiquity at the Qing Court. The Qianlong emperor proposed to 'restore ancient ways', referring to the view of ancient culture as having intrinsic moral qualities of sincerity, simplicity and happy exuberance. For this purpose the Emperor instructed the Court to collect drawings of antiquities, such as the Xiqing gujian (Catalogue of Xiqing Antiquities). Jade carvers were thus encouraged to study archaic bronze vessels in the Qing Court Collection or in illustrated woodblock prints, and adapting them to the medium of jade; 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 but larger white jade 'bajixiang' bowl and cover, Qianlong, which was sold at Christie's Hong Kong, 27 November 2013, lot 3398.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 164
A VERY RARE PALE GREEN JADE 'MYTHICAL BEAST' WATER DROPPER AND COVERMing Dynasty Finely carved as a crouching mythical beast with ears and horns flicking back as though preparing to pounce on its prey, rendered with an elongated torso flanked by a flame-like tendrils, terminating in a bifurcated tail with curling ends, flanked by three sinuous chilong clambering to his sides and over the cover on his back, the interior well hollowed, holding a round bowl in his mouth, the stone of even pale green tone with cloudy inclusions. 15cm (6in) wide. (2).Footnotes:明 青玉雕瑞獸硯滴帶蓋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 form of the present vessel is based on archaic bronzes of the Han or Six Dynasties period. See a bronze water dropper shaped as a mythical beast and holding a bowl in his mouth, 4th - 6th century AD, in the collection of the Shanghai Museum, illustrated in The Chinese Scholar's Studio. Artistic Life in the Late Ming Period, New York, 1987, no.86.Compare with a related grey jade bixie form water dropper, Ming dynasty or earlier, illustrated by J.Rawson and J.Ayers, Chinese Jade Through the Ages, London, 1975, no.338. See also two related pale green jade mythical beast waterpots, Ming dynasty, illustrated in The Compendium of Collections in the Palace Museum: Jade, vol.6, Beijing, 2011, nos.74-75. A related pale green jade 'mythical beast' waterpot, Ming dynasty, was sold at Bonhams, 11 May 2021, lot 128.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 184
A PARCEL-GILT-BRONZE 'MYTHICAL BEASTS' VASE, GU17th centuryFinely cast with a globular body rising from a spreading foot to a tall flaring neck, decorated around the exterior in medium relief with a continuous scene of various mythical animals amidst crashing waves highlighted in gilt. 19cm (7 1/2in) high. Footnotes:十七世紀 銅局部鎏金海瑞獸紋花觚The present lot is remarkable for the range and diversity of the mythical creatures depicted. The design harks back to earlier related depictions during the Ming dynasty: see for example a blue and white bowl, Xuande, with similar decoration of mythical creatures over waves, illustrated by Chen Ching-kuang, 'Sea Creatures on Ming Imperial Porcelain', The Porcelains of Jingdezhen, London, 1993, pl.1, where it is suggested that this motif may be related to the auspicious creatures described in the Shanhai jing (山海經), a mythical geography of China and the known world, dated to the Eastern Zhou/Han dynasty. It is possible that such designs were inspired by woodblock illustrations from this classic. Although bronze vases of this type are rare, similar decoration can be seen on blue and white porcelain; see for example a blue and white bowl, Wanli, with similar decoration of mythical beasts on water, in the Shanghai Museum and illustrated by Lu Minghua, Qingdai guanyao ciqi, Shanghai 2007, pl.1-83.Compare with a related parcel-gilt bronze vase, 16th/17th century, but decorated with various scholarly objects, illustrated by Sydney L.Moss Ltd., The Second Bronze Age: Later Chinese Metalwork, Hong Kong, 1991, no.92.For further information on this lot please visit Bonhams.com
Lot 189
A GOLD-SPLASHED BRONZE 'ALMS' BOWLXuande six-character mark, 17th/18th century Expertly cast with a compressed globular body with a lipped rim surrounded by a broad shoulder rising from a narrow foot, covered in lustrous gold splashes, the flat base with an inset six-character mark, the bronze with dark chocolate-brown patina. 12.5cm (5in) diam.Footnotes:十七/十八世紀 銅灑金缽式爐「大明宣德年製」楷書款Despite its shape as an 'alms' bowl, its gold splashes and flat base hint that the present lot was used as an incense burner. The alms bowl, used by wandering Buddhist monks, however, carried with it a symbolism of having left the dusty realm of illusory dreams and ambitions. Similarly, the idealised literatus was a man who scorned the material world. A vessel such as the present lot combines Buddhist symbolism with the archaic meaning of gold-splashed bronzes to create a subtle statement of literati values. See a similar gold-splashed incense burner of alms bowl shape, Ming or early Qing dynasty, illustrated by G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.229.For further information on this lot please visit Bonhams.com
Lot 190
A PARCEL-GILT-BRONZE SEAL PASTE BOX AND COVERHu Wenming seal mark, 17th centuryThe circular box with an incurving inner rim supporting the domed cover cast and gilt with blossoming prunus, the sides similarly decorated, all reserved on a diaper-pattern ground, the recessed base with a gilt four-character mark Hu Wenming zhi cast within, box. 7.1cm (2 3/4in) diam. (3).Footnotes:十七世紀 銅局部鎏金花卉紋印泥盒帶蓋「胡文明製」篆書款See a related bronze incense box and cover, Hu Wenming mark, late Ming dynasty, illustrated by M.Maucuer, Bronzes de la Chine impériale des Song aux Qing, Paris, 2013, no.80. See also another example, illustrated by B.S.McElney, The Museum of East Asian Art Inaugural Exhibition: Volume 2, Chinese Metalwares and Decorative Arts, Bath, 1993, no.289.Compare with a related parcel-gilt bronze incense box and cover, Hu Wenming mark, 17th century, which was sold at Bonhams London, 17 May 2018, lot 210.For further information on this lot please visit Bonhams.com
Lot 191
A BRONZE MODEL OF A QILIN17th century The sturdy beast cast seated on its haunches, its head modelled with bulging eyes and a broad, flat nose, the mouth agape revealing sharp fangs, all below pricked ears and a single horn, the brows, mane and tail finely detailed with incised markings. 43cm (17in) high.Footnotes:十七世紀 銅麒麟The qilin is one of the animals mentioned in the 'Book of Rites', together with the dragon, phoenix and tortoise. It is a creature of good omen and symbol of longevity, felicity, illustrious offspring and wise administration. It supposedly has a fleshy horn on its forehead, a body like a horse and is covered with scales like fish.The present figure is remarkable for its very large size and life-like posture. A 17th century bronze qilin incense burner, with related striated casting of the tail and scales on the chest, is illustrated by R.D.Mowry, China's Renaissance in Bronze, Phoenix AZ, 1994, pp.222-223, no.58.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 194
A LARGE SILVER-WIRE-INLAID BRONZE FIGURE OF GUANYINShisou silver-inlaid mark, 19th CenturyThe Goddess of Mercy finely cast standing, gently swaying to her right, the face with serene expression defined by downcast eyes flanked by pendulous ears, holding a scroll in her left hand, wearing a silver beaded necklace and layered robes inlaid with silver wire with scrolling designs and clouds draping elegantly around the body and flaring at the hems, the hair drawn up into a topknot beneath her veil, wood stand. 48cm (19in) high.Footnotes:十九世紀 銅嵌銀絲觀音立像「石叟」款Provenance: an Italian private collection來源：意大利私人收藏The present bronze figure displays a great attention to detail and sculptural qualities. The Chinese mother goddess radiating grace and poise expresses much refinement in her elegant hands with a fine articulation in the wrist and fingers. The movement of her robes is enhanced by the naturalistically rendered folding and the fine silver-inlaid decorations along the hems. According to the 'Lotus Sutra', Guanyin could take the form of any type of God, Buddha, King and Heavenly Guardian, and could appear in both male and female form, showing the Bodhisattva's limitless transcendence beyond gender, in order to teach the Dharma (teachings of the Buddha) to sentient beings. During the Ming dynasty, it was common belief that, in accordance with descriptions in the 'Avalokiteshvara' chapter of the 'Lotus Sutra' and 'The 25 Great Ones' chapter of the 'Surangama Sutra', Guanyin could transform at will and appear in more than thirty human forms to expound Buddhist teaching. Compare with a related silver-inlaid bronze figure of Guanyin, 16th/17th century, which was sold at Bonhams Hong Kong, 27 May 2021, lot 27; and see also a related bronze figure of Guanyin, 19th century, which was sold at Christie's New York, 21 March 2014, lot 2057.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 40
A MAGNIFICENT GILT-BRONZE FIGURE OF SHAKYAMUNI BUDDHAYongle incised six-character mark and of the periodSuperbly cast seated in dhyanasan with hands in bhumisparsa and dhyana mudras, wearing a simple dhoti leaving the right shoulder bare and cascading into elegant folds before the incised six-character mark reading 'Da Ming Yongle nian shi', the face with crisp features and contemplative expression, flanked by large ears with pendant pierced lobes, the hair tightly coiled and piled onto the high usnisa, resting on a double-lotus pedestal, liberally gilded overall, the base sealed and decorated with a double vajra. 21cm (8 2/8in) high.Footnotes:明永樂 銅鎏金釋迦牟尼佛坐像「大明永樂年施」款Provenance: Henrik Valdemar Jacobsen (1887-1955), Harbin, China and Hellerup, Denmark, and thence by descent來源：雅國先 (1887-1955)，曾居中國哈爾濱和丹麥赫勒烏浦，並由後人保存迄今Henrik Valdemar Jacobsen served as the Consul of Denmark in Harbin, China 1919-1930. He was in Harbin in 1911 with the Danish East Asiatic Company (宝隆洋行), and was then appointed its manager, North East China, from 1917-1930, developing the company's trade in soy beans. On his return to Copenhagen, Denmark, he served as Managing Director from 1932-1952.This important gilt-bronze figure of Buddha, Yongle mark and period, was collected by Jacobsen during his work in China, amongst other objects which adorned his family home in Harbin and later in Hellerup, Denmark as can be seen in an old family photograph.The present magnificent gilt-bronze figure of Shakyamuni Buddha is amongst the very finest ever made during the Yongle period. For nearly a century it has remained with the same Danish family, and it is offered here for the first time since it left China prior to 1932.Emperors during the early Ming dynasty lavishly patronised Buddhism. The Hongwu emperor was a monk between the ages of about seventeen and twenty-four, and the Yongle and Xuande emperors continued to promote Tibetan Buddhism, also as means of extending their power and sphere of influence. The Yongle emperor welcomed Tibetan guests with great ceremony and gifts, and sent Imperial delegations to Tibet as early as 1403. In doing so he was recalling Kublai Khan's famous patron-priest relationship with his Tibetan Imperial Preceptor ʼPhags-pa (1235-1280), casting himself in the role of the Mongol Khan's spiritual heir and inheritor of Mongol political hegemony. Artisans from Tibet are believed to have remained in Beijing after the fall of the Yuan dynasty and continued to serve in the Ming Imperial Workshops, with frequent exchanges of sculptures and gifts between the Ming Court and Tibetan hierarchs and monasteries. Strong influence was exerted by the monk Daoyan (Yao Guangxiao) (1335-1418), who met Prince Yan, the future Yongle emperor, at the funeral of his mother the empress in Nanjing, and then travelled with him to his fiefdom in Beijing. Later he became a key military, political and religious adviser to the future Yongle emperor. Daoyan's influence continued in assisting Prince Yan to capture the throne from the Jianwen emperor in 1402. Therefore, the receipt of favourable omens and portents from Tibetan lamas and their blessings, served to strengthen the legitimacy of the Ming rule and its Mandate from Heaven, and particularly that of the Yongle emperor.The genius of Yongle period Buddhist sculpture is its ability to codify Imperial power, artistic creativity and religious authority within a single work of art. In the present lot these three elements exist on a scale that is both personal and intimate. The iconographic form of Shakyamuni Buddha represented here is rare among the corpus of surviving Yongle sculpture. Monumental examples include a complete shrine in the collection of the British Museum, published by W.Zwalf, ed., Buddhism: Art and Faith, London, 1985, no.305, (59cm) and another from the Speelman collection, which was sold at Sotheby's Hong Kong, 7 October 2006, lot 808 (72.5cm). Such works were part of a large-scale project of monastic patronage by the Yongle emperor, which included the construction, between 1412 and 1418, of the gilt bronze Golden Hall in the Palace of Supreme Harmony on Mount Wudang. The present example represents the historical Shakyamuni Buddha and commemorates the defeat of Mara at Bodhgaya, one of the 'Eight Great Places' of Buddhist pilgrimage. A small number of more intimately conceived pieces, range between approximately 15 and 28cm in height, perfectly encapsulating the essence of the monumental works. Every naturalistic detail has been painstakingly cast from the drape of the cloth to the poise of the fingers, the quintessential broad shoulders, powerful torsos, long legs and curly hair gathered in a pointed topknot.Recorded examples of similar-sized gilt bronze figures of Shakyamuni Buddha, Yongle mark and period are exceptionally rare and include the following: the first, published by U.von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol.II, pl.358A, (19.4cm); the second is illustrated by U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl.146D (19cm) and was sold by Christie's London, 6 May 1975, lot 32; the third figure was sold by Christie's New York, 21 March 2001, lot 85 (19.7cm high); the fourth figure from the collection of Tuyet Nguyet and Stephen Markbreiter, was sold at Sotheby's Hong Kong, 7 October 2010, lot 2142 (21.2cm high); and the fifth and most recent example, is a figure of Shakyamuni Buddha, which was sold at Sotheby's Hong Kong on 3 October 2017, lot 3143 (20.2cm high). For another very similar example but with slightly different lotus lappets, in the Palace Museum, Beijing, see Splendors from The Yongle and Xuande Reigns of China's Ming Dynasty: Selected Artefacts, Beijing, 2010, p.244, no.118 (22cm high). 早在1911年，雅國先就随着丹麦跨国公司宝隆洋行的业务扩展来到了哈爾濱。他在1917-1930年间被委任为該洋行的中国东北地区经理，主力拓展公司的大豆业务，並在1919-1930年間兼任丹麥駐哈爾濱領事。在回到哥本哈根後，他繼續在寶隆洋行工作並在1932至1952年間出任行政總裁。 這尊珍罕永樂款銅鎏金佛像即為雅國先在中國時所入藏。同時進入其收藏的還有在其家庭老照片中可見，裝點於他在哈爾濱及丹麥赫勒烏浦家中各處的精美器物。 此像所刻畫者為佛陀釋迦牟尼，為永樂年製傳世佛像中之佼佼者。在過去近一世紀內，該像一直為雅國先家族所珍藏。此次現身拍場，實為其自1932年前離開中國後之首次亮相。 明初皇帝均大興佛教，供養不輟。洪武皇帝本人在19歲至24歲間曾出家侍佛，而永樂和宣德二帝則扶持藏傳佛教，並以此作為擴展帝國勢力及影響力的手段之一。永樂帝早在1403年就已遣使入藏，並數次迎請藏僧入朝說法且對其賞賜無數。如此一來，他便可效仿忽必烈以法王八思巴（1235-1280）為帝師之舉，將自己塑造成蒙古諸汗的精神傳人及元蒙政權理所當然的繼承者了。而從明皇室與藏區政教首領及寺廟之間頻繁的造像及禮物交換來看，相信的確有不少來自西藏的工匠在元代覆亡後依然留在北京，並繼續在明代的御作坊中工作。 在明初的政治局勢中，僧人道衍（姚廣孝，1335-1418）也是舉足輕重的人物之一。他在高皇后的葬儀法事上與其子燕王（即後來的永樂帝朱棣）相識並相談甚歡，後更隨後者入燕，成為朱棣在軍事、政治和宗教上的重要幕僚。1402年時，道衍亦參與到靖難之變中，助燕王從建文帝手中篡得帝位。因此，來自藏傳佛教高僧的預言及祝禱一直是明代統治合法性及其「天命所歸」的重要論述基礎，尤其是對永樂帝而言。 永樂年間佛教造像的精華之處，尤在於其融皇權之尊貴、藝術的創造性，及宗教之威嚴於一體。在本拍品上，這三種元素亦緊密結合，表露無遺。 本拍品上所呈現之釋迦牟尼形象在傳世永樂造像中十分罕見。一些較大型的例子可見於大英博物館所藏的一座完整的佛龕，見W.Zwalf所編Buddhism: Art and Faith，倫敦，1985年，編號305（59cm），以及2006年10月7日香港蘇富比以編號808售出的一件原Speelman藏佛像（72.5cm）。這類造像多用於永樂帝大興土木所建造的佛寺中，其中一所即為建於1412至1418年間的武當山太和宮銅鎏金金殿。而本拍品所刻畫的則為釋迦牟尼佛在佛教八大聖地之一菩提伽耶（Bodhgaya）結觸地印斥退摩羅（Mara）群魔，終證悟成道之情境。 如本拍品一般精巧，高度在15至28釐米之間的作品為數不多，但它們蘊含的細節及表現的氣韻卻與大型作品不遑多讓。從垂墜衣紋到精細的手部姿態，從典型的寬闊肩部到健美的身軀，還有修長雙腿以及捲髮頂髻，所有寫實細節均由精妙鑄工一一呈現。 目前可見與本拍品尺寸相類之永樂款鎏金釋迦牟尼像且有著錄者僅有數例。其一收錄於U. von Schroeder著Buddhist Sculptures in Tibet （西藏佛教雕塑），香港，2001，卷二，圖版358A（高19.4 cm）。其二可見於U. von Schroeder著Indo-Tibetan Bronzes（印度西藏青銅器），香港，1981年，圖版146D（高19 cm）。該像於1975年5月6日以編號32為倫敦佳士得售出。其三則為紐約佳士得於2002年3月21日所售，編號85（高19.7 cm）。其四為雪月舊藏（Collection of Tuyet Nguyet and Stephen Markbreiter），於2010年10月7日為香港蘇富比所售，編號2141（高21.2 cm）。第五例，亦即最近拍場可見的一例，為香港蘇富比於2017年10月3日售出的明永樂鎏金銅釋迦牟尼佛坐像（高20.2 cm），編號3143。北京故宮博物院亦藏有一例（高22 cm），雖蓮座稍有不同但亦可資比對，見《明永樂宣德文物圖典》，北京，2010年，頁244，編號118。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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