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Click here to subscribeA Chinese iron red dragon cup, possibly Guangxu mark and Period, height 5cm, diameter 6.5cm,and a Chinese gold glazed cup, decorated with calligraphy, height 3.5cm, diameter 6.5cm, each with carved wood stands.Condition report: Two small chips to rim of blue and white, no other condition issues, extra images on David Lay website.
Yu Youren (1879-1964), Calligraphy, ink on paper, scroll, signed and with one seal of the artist, picture size 96.5cm x 43cmProvenance: Private American collection于右任赠夏之骅书法立轴一件拍品来源：美国私人收藏于右任（1879-1964）:中国近代、现代著名政治家、教育家、书法家。夏之骅（1906-1999）：著名水土保持学家，先后在中央大学、四川大学、贵州农工学院任教授，曾创建福建河田水土保持试验区，1956年定居美国洛杉矶。Condition Report: paper with minor foxing, mounting fabric with split and lossCondition Report Disclaimer
Zi Qing- a Chinese enamelled porcelain plaque, Republican period, painted with a scholar riding on the donkey with attendant in a mountainous landscape, seal mark and calligraphy, 32cm x 22cm Provenance: The property of a private individual 民国 粉彩瓷板拍品来源：英国私人收藏Condition Report: small chip to one corner approximately 5mm x 5mm unexamined out of frameCondition Report Disclaimer
A Chinese 'Sages' bamboo brush pot, signed Chun Jiang, carved from a cylindrical section of bamboo in varying layers of relief with sages writing calligraphy, and conversing, all the while being attended by servants, among gnarled pine trees and jagged rocks, fitted with a hardwood mouth rim and base, 16cm high x 14cm diameter Condition Report: in good condition other than very minor cracksCondition Report Disclaimer
A modern Chinese calligraphy set with six brush pens, ink stone, pen rests, seal, etc, in fabric covered case, together with a simliar two brush set, together with a Chinese treacle glazed vase of bellied form, bearing relief work character mark to base (large chip to rim and chip to base), 16 cm high and a contemporary Chinese glazed porcelain figure of a seated Buddha, a peach in his right hand, a root wood staff in his left, by Fang Wang Sheng, bearing stamps to underside, circa 2001, housed in the original display box, with brochure, 22.5 cm high
CRANE, Walter (1845-1915). The First of May, a Fairy Masque. London: Henry Sotheran, 1881. Oblong folio (605 x 433 mm). 57 engraved plates [including half-title, title, dedication, frontispiece, and colophon] printed on India proof paper and mounted after illustrations and calligraphy by Crane (some minor spotting to a few mounts). Loose as issued in original brown cloth portfolio gilt, printed pictorial label on upper cover (lacking ties, some minor soiling). LIMITED EDITION, number 88 of 200 copies SIGNED BY CRANE. For condition inquiries please contact lesliewinter@hindmanauctions.com
This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A collection of crew items from Lucasfilm, the production company behind the Star Wars franchise. These items come from the personal collection of costume designer Trisha Biggar. The lot comprises a green-and-brown nylon picnic bag containing utensils and a blanket; a blue-and-black nylon messenger bag; a brown leather duffel bag; a grey-and-black nylon wash bag with a plastic water bottle and towel; a Skywalker Ranch wooden box; a wooden box containing a calligraphy set; a Stormtrooper Christmas ornament; and a leather wallet. Each item remains unused, and many come presented in their original gift boxes. Dimensions (picnic bag): 57 cm x 45 cm x 22 cm (22½" x 18" x 8½")Proceeds from this lot will be donated to The Royal Theatrical Fund Estimate: £800 - 1,200 †
A 19TH CENTURY INDO-PERSIAN KULAH KHUD (HELMET) AND DHAL (SHIELD), the single piece domed iron skull decorated with a horned devil's mask, the whole decorated with panels of calligraphy and wild animals, square section spike finial, adjustable nasal bar, gold koftgari highlights and trimmed and shaped camail of butted links, the associated two-piece dhal of characteristic form and 39.25cm in diameter, turned rim with broad border of mounted archers hunting birds amidst dense scrolling foliage, interspersed with calligraphy, four domed foliate bosses intersected with four panels decorated with archers and hawkers on horseback, central embossed face panel, the whole with good traces of gold koftgari highlights. (2)
AN EARLY 19TH CENTURY INDIAN CAVLARY OFFICER'S MAMELUKE, 80.5cm curved clipped back blade with traces of gold calligraphy or talismanic symbols along the back edge, gilt hilt decorated with chevrons and acanthus leaves, triple gilt rosette riveted ivory grips, contained in its gilt mounted leather wrapped wooden scabbard, decorated to match. Just above the forte there appear to be traces of an umbrella form maker's panel which would suggest that this is a trophy blade. See Pg 109 Plate 12.2 of The British Cavalry Sword 1788-1912 by Richard Dellar for a not dissimilar example.
A 19TH CENTURY TURKISH OR OTTOMAN JAMBIYA, 29cm curved fullered blade inlaid in gold with a panel of geometric designs and calligraphy, characteristic carved wooden hilt with filigree pommel cap and two large domed filigree rivets, contained in its red velvet wrapped wooden scabbard with white metal mounts decorated to match.
an oban tate-e triptych print A Children's Calligraphy Gathering (Yôdô sekigaki kai), published by Izumiya Ichibei, signed Ichiyusai Kuniyoshi galargest: 37.6cm x 26.6cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
A Chinese hanging scroll, of calligraphy 'Xue Yuan Dong Liu', with a dedication and the signature of Lao She, ink on paper, 82 x 36.7cmCondition report: Mounting tired, repaired, tears and stains in various locations. Paper very fragile, cracking and brittle, very likely to come apart. Taped to the back of lower section.
HASEGAWA MASAHARU (CHIGYU, 1913-1993)Showa era (1926-1989), mid/late 20th centuryKakejiku (hanging scroll), ink on paper in silk mounts, inscribed with three Chinese characters probably reading Daishogun (Great General), signed Chigyu sho and sealed Masaharu and Chigyu; with a plain wood storage box and outer sleeve. Overall: 194.5cm x 50.8cm (76 9/16in x 20in); image: 134cm x 33.2cm (52¾in x 13 1/16in). (3).Footnotes:Provenance:A distinguished private collection.Hasegawa Masaharu, who served two terms as Major of Muroran City in Hokkaido, was a member of the Mainichi Newspaper Company Calligraphy Exhibition Committee. He continued to create calligraphies with his left hand even after his right arm was paralysed by a stroke.For further information on this lot please visit Bonhams.com
A rare pair of Satsuma dishesBy Yabu Meizan (1853-1934), Meiji era (1868-1912), late 19th/early 20th centuryEach decorated in enamels and gilt, one dish depicting a girl playing the koto beside other girls hanging calligraphy on a kimono stand; the other dish with a design of men drinking soup beside a large tai (sea bream); each signed on the base Yabu Meizan. Each dish: 15cm (6in) diam. (2).For further information on this lot please visit Bonhams.com
A fine Satsuma bowlBy Yabu Meizan (1853-1934), Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt, the exterior with a gathering of a profusion of women and children engaged in leisure pursuits, including koto practice, shamisen playing, dancing and calligraphy; the interior depicting a design of hanging wisteria; signed on the base Yabu Meizan within a gilt seal. 12.5cm (5in) diameter.Footnotes:For a similar interior design from the Yabu Meizan Workshop, compare Oliver Impey and Malcolm Fairley, The Nasser D. Khalili Collection of Japanese Art, Vol.V, Ceramics Part II, London, Kibo Foundation, 1995, cat.no.57. The Khalili example is thought to date from circa 1900-1910.For further information on this lot please visit Bonhams.com
A Satsuma square vesselBy Yabu Meizan (1853-1934), Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt, each face depicting a different scene, (1) A gathering of children engaged in various activities including karuta, suguroku, playing with spinning tops, hanetsuki and temari celebrating the New Year, (2) An uguisu (bush warbler) perched on flowering plum branches, (3) Adult men at scholarly pursuits of calligraphy, painting and appreciating paintings and the tea ceremony, (4) A sparrow perched on stems of bamboo, the rim embellished with densely-clustered chrysanthemums; signed on the base with a gilt seal Yabu Meizan. 7.6cm x 7cm (3in x 2¾in).For further information on this lot please visit Bonhams.com
A fine bone and ivory brushQing DynastyThe long cylindrical shaft inlaid with various auspicious items including lingzhi, musical chimes, ingots, and books, the top carved with Jin Dongxin, the bulbous ferrule at the bottom of the shaft with animal hair. 27cm (10 1/2in) long. Footnotes:清 骨牙雕嵌雜寶紋筆「金冬心」款Jin Dongxin refers to Jin Nong (1687-1763 or 1764) one of the Eight Eccentrics of Yangzhou, a group of generally nonconformist artists. Jin Nong's uniqueness was his 'lacquered' style calligraphy with straight angular lines, resembling lacquer applied with a wooden spatula rather than a brush. He also preserved his independence by selling works in an open market, rather than adopting an individual patron. His openness to selling his paintings or calligraphy for money still went against the grain of literati ideals which argued that true literati art should be done by amateurs who did not need money which would have inhibited their expression.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
A rare pair of Imperial white and spinach-green jade and cloisonné enamel 'Shou Characters' screensQianlong The jade rectangular plaques of pale white tone, each inscribed with 60 Shou characters in zhuanshu calligraphy and decorated with gilt, the reverse with pomegranates, butterflies, and narcissus, the other with lotus and a pair of Mandarin ducks, each encased in a cloisonné enamel frame with diaper pattern, supported on a zitan wood stand with spinach-green jade spandrels and shaped apron. Each 24.1cm (9 1/2in) high. (4).Footnotes:清乾隆 御製紫檀嵌碧玉座框銅胎掐絲琺瑯鑲白玉雕壽字紋硯屏一對Provenance: Sir John William Buchanan-Jardine, 3rd Baronet (1900-1969), LondonSpink & Son Ltd., LondonAn English private collection, with one of the pair of screens acquired from the above on 30 November 1954 (to join the pair to it which was previously separated), and thence by descentExhibited and Published: Royal Academy of Arts, International Exhibition of Chinese Art 1935-6, London, 1935, p.245, no.2859Captain Sir John W. Buchanan-Jardine became, like his family predecessors, the Chairman of Jardine, Matheson & Co. He was among the largest lenders to the Royal Academy of Arts International Exhibition of Chinese Art in Burlington House in 1935-36, his loan including the present pair of screens. The Exhibition remains the most important exhibition of Chinese Art ever held in Europe.來源：倫敦第三代John William Buchanan-Jardine男爵（1900-1969）舊藏倫敦古董商Spink & Son Ltd.英國私人收藏，其一於1954年11月30日購自上者（將兩屏合為一對），並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935年，頁245，編號2859John W. Buchanan-Jardine男爵，如他的家族前輩一樣，曾為怡和洋行（原名渣甸洋行）董事長。同時，他也是1935-36年於英國皇家藝術學院伯靈頓宮舉辦的「中國藝術國際展覽會」最大的借展方之一，並借展了本對硯屏。該展覽仍為歐洲迄今最為重要的中國藝術展覽。The present lot has sixty Shou (壽) characters on each screen. It is likely therefore, that it was made for the occasion of the Qianlong Emperor's 60th birthday celebration (held on the 1st month of the 35th year of his reign, approximately 1770). The motif of numerous Shou characters (meaning 'longevity') is common for birthday celebrations and appeared as early as the Kangxi reign. See a massive blue and white 'Ten thousand Shou vase, which bears 9,999 Shou characters and one wan character, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglazed Red (III), Hong Kong, 2002, pp.8-9, no.5.See a single related incised celadon jade and lacquer 'longevity' table screen, 18th century, which was sold at Sotheby's Paris, 10 June 2021, lot 101.For further information on this lot please visit Bonhams.com
MANNER OF QI BAISHI (1864-1957)Apples and LycheesInk and colour on paper, bearing signature Qi Baishi and with three seals of the artist, framed and glazed. 103cm (40 1/2in) long x 35cm (13 3/4in) wide.Footnotes:齊白石（款） 太平多利圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42 Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Qi Baishi is perhaps the most famous Chinese artist of the 20th century. He is noted for his whimsical, playful, and seemingly simple style of painting. Born to a peasant family from Xiangtan, Hunan, Qi became a carpenter at 14, and learned to paint by himself. When he came across the 'Mustard Seed Garden Manual of Painting', that sparked his interest to paint. He did not start learning painting and calligraphy until he was 27. After he turned 40, he travelled, visiting various scenic spots in China. After 1917 he settled in Beijing. Some of Qi's major influences include the early Qing dynasty painter Bada Shanren (八大山人) and the Ming dynasty artist Xu Wei (徐渭). What is unique about Qi however, is that his works show no western influences, unlike most other contemporary artists in his time. Other artists praised Qi for the freshness and spontaneity that he brought to the familiar genres of birds and flowers, insects and grasses, hermit-scholars and landscapes.For further information on this lot please visit Bonhams.com
MANNER OF LI KERAN (1907-1989)Buffalo and BoyInk on paper, signed, one seal of the artist, framed and glazed. 70cm (27 1/2in) x 41cm (16 1/8in).Footnotes:李可染（款） 童子牧牛圖 紙本設色 鏡框裝裱Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descentPublished and Exhibited: Herbert Art Gallery and Museum, Modern Chinese Paintings from the Hafkin and Other Collections, Coventry, 11 July - 9 August 1964, no.42.來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今展覽著錄：赫伯特藝術博物館，《Modern Chinese Paintings from the Hafkin and Other Collections》，考文垂，1964年7月11日-8月9日，編號42Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.Li Keran painted the subject of a herd boy and buffalo on countless occasions over the course of his long career, becoming a signature subject in his oeuvre. On the surface, the depiction of water buffalo or oxen with a herd boy companion appears as a benign depiction of the rural lifestyle. However, the subject is tied to the cultural milieu of 20th century China, as the artist's depiction is an implicit reference to Lu Xun's (1881-1936) writings in the 1930's when he compares himself to a buffalo: 'willingly I become a buffalo for the sake of the children' (俯首甘為孺子牛), as well as Guo Moruo's (1892-1978) essay 'In Praise of Water Buffalo' (水牛贊), where Guo suggests that the water buffalo should be embraced as a national emblem of strength and humble, yet hard work. See a related painting by Li Keran of a water buffalo and boy, illustrated by S.Little and J.M.L.Barrett, New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu, 2007, pp.592-593.For further information on this lot please visit Bonhams.com
A MAGNIFICENT AND VERY RARE PAIR OF ZITAN-FRAMED KINGFISHER FEATHER-INLAID 'LANDSCAPE' SCREENSQianlongEach exquisitely decorated with lavish use of turquoise-blue kingfisher feathers and other materials reserved against a luxurious velvet ground, depicting rugged mountain and lake landscapes dotted with pavilions and pagodas, the leaves, tree trunks and rocks all made from kingfisher feathers, one screen depicting a boy-attendant carrying a guqin to a seated sage below pine trees, with swirling clouds amidst the tall craggy peaks, the other screen with figures in a house gazing out to the lake with a sampan, all set in a shaped skillfully carved zitan frame carved with archaistic scrolls in low relief and stand pierced with floral sprays. 111.2cm (43 3/4in) high x 56.7cm (22 1/4in) wide x 31.2cm (12 1/4in) deep (2).Footnotes:清乾隆 紫檀邊座點翠山水人物圖插屏一對Provenance:H.E. Monsieur Aleksander Vlangali (1823-1908), Russian Ambassador Extraordinary and Minister Plenipotentiary in China (1863-1873)Spink & Son Ltd., LondonMrs E. A. Parry (1879-1977), London, acquired from the above on 31 July 1926, and thence by descentPublished, Illustrated and Exhibited: Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, pp.215-216, nos.2500 and 2511.來源：俄駐華公使亞歷山大·弗蘭加利（1823-1908）旧藏倫敦古董商Spink & Son Ltd.倫敦E. A. Parry夫人（1879-1977）舊藏，於1926年7月31日購自上者，並由後人保存迄今展覽著錄：皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁215-216，編號2500与2511Aleksander Vlangali descended from nobility of St. Petersburg. He participated as an officer in the Crimean War of 1853-1856. In the late 1850s he entered the Imperial Russian diplomatic service and was promoted in July 1863 to the position of the Russian Ambassador Extraordinary and Minister Plenipotentiary in China, a position which he held until November 1873. In 1865 he was made Major General. 亞歷山大·弗蘭加利（Aleksander Vlangali）為出身於聖彼得堡的俄國貴族。曾作為軍官參加了 1853-1856年的克里米亞戰爭。十九世紀五十年代後期，任職俄羅斯帝國外交部門，並於1863年7月任命為俄駐華公使，直至1873年11月。1865年，亞歷山大被擢升為少將。This important pair of screens was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet, S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the Exhibition Committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again. The remarkable screens demonstrate the exceptional artistry of the 18th century craftsmen reproducing idyllic landscapes in variety of materials and in the case of the present pair, utilising the brilliant enduring colours of kingfisher feathers meticulously inlaid within the design. Kingfisher feathers were admired and prized in ancient China, and as early as the Spring and Autumn period (770-475 BC) they adorned clothes and accessories. A Tang dynasty poem by Chen Zi'ang, 661-702 AD) reads: The halcyon kingfisher nests in the South Sea realm;Cock and hen in groves of jewelled trees; How could they know that the thoughts of lovely women; Covet them as highly as yellow gold?' The popularity of the use of the prized feathers in appliqué technique continued into the 18th century, with the majority of workshops specialising in utilising the feathers for decoration and in carving the precious zitan wood, located in Guangzhou. Such works were commissioned by the Qing Court and made as Imperial-tribute. Compare with a pair of related screens with kingfisher feather decoration, Qianlong, in the Shengyang Palace Museum, and a further panel in the Forbidden City, illustrated by B.Jackson, Kingfisher Blue: Treasures of an Ancient Chinese Art, Berkeley, Toronto, 2001, pp.30-31 and 186. See also three other screens decorated with kingfisher feathers, mid Qing dynasty, made in Guangzhou as Imperial-tribute, illustrated by Hu Desheng, Ming Qing Gu Gongting Jia Zhu Da Guan, vol.1, Beijing, 2006, nos.388, 394 and 396.The remarkable screens showing idyllic mountain landscapes and an attendant carrying a wrapped guqin to a scholar, were inspired by literati paintings and ideals. Images of the private retreat proliferated among the scholar-officials from the early Song dynasty, when visions of the natural hierarchy became metaphors for the well-regulated state. The scholars extolled the virtues of self-cultivation and asserted their identity as literati through poetry, calligraphy, and painting. The images of old trees, bamboo, rocks, and retirement retreats created by these scholar-artists became emblems of their character and spirit. Pine trees, for example, remaining green even during the winter, came to represent the sturdy and morally upright scholar. The conquering Manchu Emperors desired very much to show themselves as the custodians of Han Chinese culture and adopted it fully, including the ideals of literati from the Yangzi delta region. In addition to literati landscape paintings, the Qianlong Emperor also showed himself as a custodian and connoisseur of China's ancient heritage by championing archaism as both an aesthetic and intellectual movement. The superbly carved and prized zitan frames and stands follow the Qianlong Emperor's taste for archaism, utilising motifs seen on early ritual bronze vessels, such as taotie masks and S-shaped scrolls.With its smooth and silk-like texture, fine and dense grain and ... For further information on this lot please visit Bonhams.com
A RARE IVORY SEALQing Dynasty or earlierCrisply carved as a Buddhist wheel supported on a lotus-petal pedestal, and square seal, the seal face carved in zhuanshu calligraphy reading 'chong shan yi jiao', which may be translated as 'Revere virtue [and] respect the teaching'.6.6cm (2 5/8in) high.Footnotes:清或更早 牙雕印章Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今An ivory seal carved with the inscription 'Chong shan yi jiao', 'Revere virtue [and] respect teaching' was bestowed in 1443 by the Zhengtong Emperor on the Chong Fu temple in Dingcheng city, Gansu Province. The present seal is likely a reference to the same Imperial saying.An ivory seal of similar form with a Buddhist Wheel of the Law, but with a dedicatory inscription dated to 1427, from the Mr and Mrs R.H.R. Palmer collection, was exhibited by the Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of the Ming Dynasty, London, 1957, no.371. 據載，明英宗正統皇帝曾於1443年御賜甘肅崇福寺「崇善翊教」象牙印章一具；本例或為以相同印文治印。參考R.H.R. Palmer伉儷收藏一例1427年制牙雕印章，同以法輪為鈕，曾借展於1957年英國藝術委員會與倫敦東方陶瓷學會於倫敦主辦之「明朝藝術（The Arts of the Ming Dynasty）」大展，展品編號371。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
FIVE HARDSTONE AND GLASS SNUFF BOTTLES19th/early 20th centuryComprising a green-overlay white glass snuff bottle, with gnarled and blossoming prunus branches extending around the body, with hardstone stopper, 6.1cm (2 3/8in) high; a smokey rock crystal snuff bottle, carved in low relief with bearded sages, the reverse with poetic inscription in xingshu calligraphy with glass stopper and wood stand, 5.5cm (2 2/8in) high; a malachite snuff bottle and stopper, expertly carved around the exterior with a deer, crane and peacock amidst various trees, the stone of lustrous emerald-green tone, with wood stand, with stopper, 7.6cm (3in) high; a lavender agate snuff bottle and stopper, carved around the exterior with a female Immortal and boy attendant, amidst flowers and trees, with stopper, 7.4cm (3in) high; and a turquoise snuff bottle and stopper, the flattened body carved with leafy sprays and birds, with wood stand, with stopper, 7.8cm (3 1/8in) high. (13).Footnotes:十九世紀至二十世紀早期 硬石及玻璃制鼻煙壺 一組五件Provenance:Parry Collection, London, and thence by descent來源：倫敦Parry家族收藏，並由後人保存迄今The range of materials illustrated in this group of snuff bottles is reflective of the skill and ingenuity utilised by the Chinese artisans to create a wealth and variety of snuff bottles in almost every conceivable material. Snuff bottles were initially made for the Emperor and the Court. Through the 19th century snuff bottles were produced in greater quantities for a public which not only admired Imperial tastes but enjoyed the functionality of these finely-crafted miniatures.本組拍品足可展示中國工匠使用各類材質作為胎體豐富鼻煙壺創作場域的匠心獨運、巧奪天工。鼻煙最初傳入之時，僅於宮廷與王公貴族間流通。至十九世紀已廣泛普及，鼻煙壺的製作也由順應宮廷審美而擴大到為人們日常使用增添情趣。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
AN EXCEPTIONALLY RARE IMPERIAL INSCRIBED TWO-COLOUR CINNABAR LACQUER CARVED BRUSHPOT, BITONGQianlong seal mark and of the periodExpertly carved around the exterior in relief with an Imperial poem in kaishu script titled Xiao yuan xian yong wu shou ('Five verses from the small leisure orchard') in red, on a black square diaper-pattern ground, the rounded rim carved with a zigzag floral design, all supported on a stepped base decorated with black floral honeycomb diaper-ground, raised on five ruyi-shaped carved red lacquer framed feet, the interior and base black lacquered. 12.2cm (4 3/4in) high.Footnotes:清乾隆 御製剔紅「小園閒詠五首」御題詩筆筒「乾隆御製」款 「乾」「隆」印Provenance:Spink & Son Ltd., LondonMrs G. N. Parry (1923-2013), London, acquired from the above on 29 April 1961, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦G. N. Parry夫人（1923-2013）舊藏，於1961年4月29日購自上者，並由後人保存迄今Finely carved lacquer brushpots with Imperial poems carved in elegant kaishu script, such as the present example, are very rare, but two examples from the Qing Court Collection, in the Palace Museum, Beijing have been published. The first brushpot, nearly identical to the present lot, is illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, pl.32. The second example is illustrated in 200 Objects You Should Know: Carved Lacquer Ware, Beijing, 2008, pl.162. A third example, a closely-related but slightly smaller carved two-colour lacquer brushpot with the same poem, Qianlong seal mark and period, is illustrated by S.Marsh, Brushpots: A Collector's View, Barcelona, 2020, p.80. Only one other very similar example appears to have been sold at auction. Compare with a carved cinnabar lacquer brushpot, with the same poem, Qianlong seal mark and of the period, but with a red colour foot and no key-fret border, which was sold at Sotheby's Hong Kong, 10 April 2006, lot 1526.All the brushpots mentioned above have subtle variations in their design. It has been suggested that these differences are due to having been produced over a period of time; see S.Marsh, ibid.,, p.80. However, only the present lot has the exquisite carving on the mouth rim of a zigzag diaper-pattern, while sharing with one of the two Beijing Palace Museum brushpots the same colour and shaped foot.The poem adorning the present brushpot, entitled 'Five verses from the small leisure orchard' Xiao Yuan Yong Wu shou, was composed by the Qianlong Emperor himself and is recorded in the Anthology of Qianlong Poems Qing Gaozong Yushi Wen Quanji. Le Shan Tang Ding Ben, chapter 27, p.5, which may be translated as:'Five Verses from the small leisure orchard'1In the autumn lake the fish timidly near the bait, such are the affairs of rod and hook. Above the green waters a bamboo rod, a clear breeze rustles the collar of the palm-bark rain cape. The grassy reeds of the outskirt, among the moon and stars. Returning home along in the still night, along the mossy clear path. 2Taking the pine as my home, seeing home where the crane guards the gate. Knowing people and visiting guests, deserve fine grain from the paddies. The ancient spirit of the moon staying the night, the combing breeze through manifold feathers. Up to now, fine servant boys, need not be expensive and lofty. 3How much do you understand the colours of autumn? the reeds and flowers are all now white. The battling wind shakes the moorside at sunset, drinking the dew on the cold isle. Life and vitality knows to be thankful, and not willing to stop anytime. In the vast smoky water, it is best to go by a flat boat.4The pavilion across the river, connected by a bridge. Old autumn with jaded white sky, the red maples in the cold current. Rolling curtains of willow to the night moon, walking in the wind and frost. How I love this path, crossing the water east. 5Of the flowers and trees of the four seasons, my favourite in the garden is the plum blossom. Refusing to yield to the snow, in the breeze several flowers have blossomed. The pure fragrance wafts to the bones, cold and moist with icy cheeks. Alone, the secluded person can appreciate it, inspecting the branches. The poems were written by Prince Hongli, before he became the Qianlong Emperor, and were originally published in the Yuzhi Leshan Tang Quanji. The Leshan Tang was within the Palace where the Qianlong Emperor lived as a Prince, and these poems were published in the second year of his reign. It could be said that the Qianlong Emperor was nostalgic about his earlier time in this palace before he became Emperor, and so wanted brushpots carved with this particular poem. We enter the private realm of the Qianlong Emperor - firstly, through the poem, in his small garden rather than on an ostentatious grand tour, and secondly, through the brushpot, with him seated at his scholar's desk. Although brushpots with calligraphy can be found from earlier reigns, such as the Kangxi period, it was only during the Qianlong period that a brushpot is decorated with the Emperor's own poem. This can be taken as a sign of the Qianlong Emperor's confidence in poetry and classical Chinese literature and furtherance of his image as an accomplished scholar. Indeed, the Qianlong Emperor was a prolific poet and composed thousands of poems that, taken together, construct an image of the Emperor as a wise, erudite yet sensitive ruler. As a Manchu, he was still very much conscious of his perceived 'foreignness' by the Han Chinese elite. His sensitivity to the issue resulted in both a sorcery scare in 1768: a hunt for perceived sorcerers cutting off the Manchu prescribed queues, and literary inquisitions that sought to censor and destroy any text that he considered insulting to the Manchu. See P.A.Kuhn, The Chinese Sorcery Scare of 1768, New Haven, 2009. The Qianlong Emperor's concerns however, had a positive side too, propelling him to forge an identity, given that he was not entirely Han Chinese, to became the custodian, protector and benefactor of that culture. As such, the Qianlong Emperor aimed to show himself as worthy of any educated Han Chinese literatus: learned in the classics and the arts of painting and calligraphy. He therefore surrounded himself with the accoutrements of the scholar, such as brushpots, embellished with his own poems in fine calligraphy. In this series of poems carved on the present brushpot, the description of beautiful scenery and nature parallels the harmony and beauty of a world under his dynasty's rule. Brushpots with these poems, such as the present lot, would instill in the writer the erudition of the Emperor, and similar poems were inscribed on other brushpots in different mediums. See for example, the same poem on an underglaze red and white brushpot, Qianlong, illustrated in Sun Yingzhou de taoci shijie, Beijing, 2003, p.262, no.161.圓口直筒，筒身微斂，筒內髹黑漆，口沿飾紅邊，底部剔紅鐫出回紋一匝，下承四足錦地基座。器身外壁於深色回紋錦地上作剔紅雕刻乾隆... For further information on this lot please visit Bonhams.com
A SMALL PALE GREEN AND RUSSET JADE SEALQing DynastyThe square-section seal surmounted by a crouching bear-like creature, the underside carved with four characters reading Wu Song xian sheng. 3.2cm (1 1/4in) high Footnotes:Provenance: formerly the collection of M. Leong, Melbourne, Australia.According to the Anhui gazetteer Liu'An Zhou Zhi (六安州志) dated to the 11th year of the Tongzhi reign (corresponding to 1872), Wu Song (dates unknown) is the artist's name for Nie Hualing, who is described in the records as a scholar good at poetry and prose, calligraphy and painting.For further information on this lot please visit Bonhams.com
A SOAPSTONE SEALAttributed to Chen Yuzhong, possibly JiaqingOf rectangular section, the finial with carved archaistic taotie masks, the side inscribed '嘉慶戊午春月為易白先生作於求是齋' (Made for Mr. Yi Bai at Qiushizhai in Spring of the Wuwu year (1798) during the reign of Jiaqing), and '錢塘陳豫鐘' (Chen Yuzhong of Qiantang), the seal face carved in seal script.10.8cm (4 1/4in) highFootnotes:Chen Yuzhong was a member of the Zhejiang School of sea carving, which was founded by Ding Jing (1697-1768); the school focused on revitalising the art by adoption the older, simpler, Han-style of calligraphy, and was soon patronised by notable courtiers. Chen Yuzhong, Ding Jing and seven fellow students, were known as the Eight Masters of Xiling.For further information on this lot please visit Bonhams.com
CHEN CHUNYU (ACTIVE 19TH CENTURY)Orchid Pavilion, cyclically dated Wushen year (1848) Handscroll, ink and colours on silk depicting scholars amidst a mountainous landscape, cups flowing down a stream, colophon and seals of Hu Tong'en (active mid 19th Century) cyclically dated to the Jiayin year (1854) and seals. The calligraphy 95cm (37 1/2in) long x 21.5cm (8 1/2in) high; The landscape 131cm (51 1/2in) high x 21.5cm (8 1/2in) highFootnotes:Provenance: An English private collectionHu Tong'en 胡彤恩 (late Qing dynasty), studio name Wu'an (勿庵), was from Sanshui in Guangdong Province. Little is known of his life except that he became a jinshi degree holder during the Guangxu reign, and was an official in the Department of Criminal Justice.The literati gathering in Orchid Pavilion near Shanyin (present day Shaoxing) in 353 CE, became a symbolic event in literati cultural history, immortalised by the writings of the sage of calligraphy Wang Xizhi (303-361). Wang Xizhi wrote the canonical work of calligraphy 'Preface to Orchid Pavilion', for the poetry written by 42 literati engaged in a drinking contest. As the present lot shows, wine cups were floated down a small winding creak as the men sat along its banks; whenever a cup stopped, the man closest to the cup was required to empty it and write a poem. Apart from the calligraphy of Wang Xizhi, the event itself encapsulated an elegant and poetic lifestyle that generations of scholars forever after strove to emulate and represent in paintings such as the present lot. For an ink rubbing of a related scene of the Orchid Pavilion Gathering, see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, no.28.For further information on this lot please visit Bonhams.com
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