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Lot 600
TWO GOOD ISLAMIC / INDIAN LIDDED MIXED METAL CALLIGRAPHIC BOXES, One with silver inlays of calligraphy and bats, the interior with two mother of pearl inlaid star decorations, with losses, 10cm x 6.5cm. the other a possibly Indian lidded box profusely inlaid with semi precious stones such as turquoise , the box depicting a goddess seated in meditation, upon filigree work, 10cm x 8cm.
Lot 137
A Chinese Order of the Emperor Mandarin's 'plume of distinction', Qing Dynasty, 19th century, ling zhi, the Dan yan hua ling conferred on Chinese Nobles and Court officials from the 1st to the 6th rank, housed in a paper slip (calligraphy reads Daxing plume shop), the plume approximately 34cm long, in Chinese black lacquer box with painted inner lid and gilt details to exterior Provenance: Linda Wrigglesworth's private collection, London The one-eyed plume, a symbol of the meritorious service to the Emperor. See Linda Wrigglesworth, Imperial Wardrobe, pages 112-113. 清19世纪 单眼花翎（带翎盒）Condition Report: The plume in overall good condition The orange paper slip with tears at both endsThe lacquer box with some chips to corners and edges but generally quite presentable Condition Report Disclaimer
Lot 160
A Chinese silk embroidered 'Peacock' panel, Qing Dynasty, 19th century, with a large peacock perched in a tree and with embroidered calligraphy, the two sides with painted panels with characters relating to wealth and fortune and surmounted by painted confronting dragons amongst clouds, approximately 136cm x 98cm 清19世纪 杏地缎绣孔雀图挂屏Condition Report: some tears to silk top right and bottom right and fraying to edges of silk where the silk panels meets the painted sides and some minor stains throughout and some wear and minor staining to painted sides and repairs to silk backing and some traces of glueCondition Report Disclaimer
Lot 2
Chinese School, 19th century, a good set of eighteen watercolours, of various trades including a shoe shop, shoe maker, itinerant porcelain restorer, calligraphy brush maker, itinerant medicine man, porcelain seller, hat vendor, hat maker, book seller, jewellery trader, tailor, pickle vendor, tobacco cutter and other trades, 33cm x 30.5cm, framed (18)清19世纪 外销百工百技图水彩画一组十八件Condition Report: generally good with minor foxing only Condition Report Disclaimer
Lot 290
Kerby (Kate). An Old Chinese Garden: A Three-fold Masterpiece of Poetry, Calligraphy and Painting By Wen Chen Ming, Shanghai: Chung Hwa Book Company, 1923, full-page illustrations throughout, decorative blue moire cloth over bevelled boards with gilt title and spine ties, minor fraying to extremities, 4toQty: (1)
Lot 182
* Calligraphy. A manuscript booklet of initial letters, early 20th century, page of explanation and 25 elaborately drawn initial letters, mostly pen & black ink, with traces of pencil, several with red ink, and 1 of coloured pencil, each a single letter to a recto, including 5 on separate sheets of blue paper loosely inserted, some of the letters incorporating human and animal heads or birds, some spotting and offsetting, a few browned, 1 or 2 with splits made by pen, leaf size approximately 12 x 11cm (4.75 x 4.25ins), loosely contained in pigskin coversQty: (1)NOTESThe letters are prefaced by the following inscription: 'These letters are copied from Grandma's Old Manuscript Bible in Verse, by Abraham Shears AD 1616 & given to our Great grandmother by his descendants for some kindness. The Old book was given by Grandma to Frances, for her boy Frank just before she (Mrs. Bickford) died. The letters here were copied by me long before that, Jeannie'.
Lot 181
A GEORGIAN MAMELUKE BY PROSSER WITH TROPHY BLADE, 62cm curved blade with clipped back point and decorated to either side with panels of calligraphy in gold damascene, characteristic hilt, the crossguard with bun-shaped terminals, two-piece riveted wooden grips, contained in its steel mounted leather wrapped wooden scabbard, the upper mount with maker's panel.
Lot 2889
China, blauw wit porseleinen porseleinen balustervaas in Kangxi stijl, Qing dynastie, waarschijnlijk 19e eeuw, met decor aan één zijde van go spelende dames, de andere zijde kalligraferende dames. De cilindervormige hals met een horizontale band en ruyi-motieven. De voet met een uitlopende rand. Gemerkt met dubbele ring. Provenance: Nalatenschap Dr. Cornelis Henning, oud docent aan de UVA. (twee plekjes met verbrand glazuur) h. 46 cm. [1] China, blue and white porcelain vase, Qing dynasty, probably 19th century. Kangxi style painting of two groups of ladies one playing the game go, the other around a calligraphy table. Marked with a double ring. With two brown glaze spots, one spot with small crack in glaze. Provenance: Estate Dr. Cornelis Henning, former professor at UVA University, Amsterdam .
Lot 1784
Japan, vijf celadon- en bruingeglazuurde sake kruiken, verschillend van vorm, ene met kalligrafie (enkele defecten), herkomst: Collectie Cserno, Amsterdam h. 13-26,5 cm [5] Japan, five celadon- and brown-glazed sake flasks, of various shapes, on with calligraphy (some damages), provenance: Collection Cserno, Amsterdam
Lot 307
TOREI ENJI (1721-1792)Edo period (1615-1868), late 18th centuryTetsubo (iron rod); a kakejiku (hanging scroll), ink and on paper in silk mounts, the massive twisted rod with a loop handle, inscribed to either side Kono waro osoreruru hito . . . (Those who fear this shall be rewarded); with a dharmic succession seal at top right and two seals at bottom left, the first reading Torei no in (Seal of Torei); with a wood storage box. Overall: 214cm x 36cm (84¼in x 14 1/8in); image: 132cm x 28cm (52in x 11in). (2).Footnotes:For a Torei painting of an iron rod with the same inscription, see Audrey Yoshiko Seo and Stephen Addiss, The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin, Boston, Shambhala Publications, 2010, pl.7.1. The iron rod depicted here is traditionally associated with demons that torment sinners in the realms of hell. Born in Omi Province, Tōrei entered monastic life at age nine and became a priest of the Rinzai sect. At 23 he visited Hakuin at Shoinji Temple, staying to become his most renowned pupil, and then went on to found Ryutakuji Temple in Izu Province, finally spending the last years of his life at Reisenji in Mito. His paintings and calligraphies are rich in religious symbolism.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 308
HAKUIN EKAKU (1686-1769)Edo period (1615-1868), 18th centuryKanzeon Bosatsu (Bodhisattva Kannon); a kakejiku (hanging scroll), calligraphy, ink and on paper in silk mounts, brushed with five large characters, sealed Kokantei, Hakuin and Ekaku; with a wood storage box. Overall: 124cm x 25.5cm (48¾in x 10in); image: 61.5 x 13.5cm (24¼in x 5 5/16in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 361
Yoshu Chikanobu (1838–1912)Meiji era (1868-1912), dated 1896 and 1897Two albums bounded with a complete set of 50 oban tate-e prints of okubi-e (bust portraits) of beauties, titled Jidai kagami (Mirror of the Ages), documenting the fashions of former times (from the Kenmu to the Meiji era) in chronological order, each sheet with a beautiful woman in sumptuous costume depicted at the lower section and a rectangular panel at the top which makes a reference to the era, some sheets with lacquer and embossed details, published by Matsuki Heikichi, variously dated Meiji 29 and 30 (1896-7), all signed Yoshu Chikanobu, together with two prints indicating the title and showing the table of contents and a single page opening illustration of three ladies; both with blue brocade covers with a title slip, the first volume with a single-page calligraphy and four page preface by Mr Ichi Daiseki, as commissioned by Mr Uemura, owner of the prints, dated Showa 51 (1976); a further signature and seals belonging to Mr Kosugi Hiroshi (likely the subsequent owner) at the end, dated Heisei 5 (1994), the second volume also bearing the signature and seal of Mr Kosugi Hiroshi inside the back cover. Each sheet approx., 36cm x 24cm (14 1/8in x 9½in). (2).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 254
Lu Yanshao (1909-1993)Three Friends of Winter, 1978 Hanging scroll, ink and colour on paperInscribed and signed Lu Yanshao, with four seals of the artist. 109.5cm (43⅛in) high x 50.5cm (19⅞in) wide.Footnotes:陸儼少 松石梅花圖 紙本設色 立軸裝裱 一九七八年作Lu Yanshao was a painter who struck a balance in his work between the meticulous skill of the orthodox 'Four Wangs' of the Qing dynasty and the building of spontaneous brush strokes. In 1927, Lu Yanshao studied poetry and calligraphy with Wang Tongyu, and then painting with the Shanghai painter Feng Chaoran. In 1938, Lu held his first exhibition. In 1955 he began to teach at the Chinese Painting Academy in Shanghai. The present lot has the following inscription:'疏枝橫玉瘦，小萼點珠光。一朵忽先變，百花皆後香。陳亮梅花詩。一九七八年八月，陸儼少畫。'Which may be translated as:'The sparse branches like slender jade, the little blossoms like lustrous pearls; A flower suddenly transforms, the myriad flowers follow in fragrance. Chen Liang's Poem on the Plum Blossom. Eighth month of 1978, painted by Lu Yanshao. Seals: Lu, Yanshao, Jiading, Yanshao Wuyang鈐印：陸、儼少、嘉定、儼少無恙For further information on this lot please visit Bonhams.com
Lot 74
A large scholar's rock on a rootwood standQing DynastyThe stone with an irregular structure and punctuated with a large opening, of brownish-grey tone, with gnarled rootwood stand. 81cm (31 7/8in) high. (2).Footnotes:清 賞石連癭木座The collecting and connoisseurship of extraordinary shaped rocks has a long and compelling history in Chinese aesthetic culture. Throughout the centuries both emperors and the scholar-elite have considered the rocks' unusual forms worthy of contemplation in both an exterior garden setting as well as inside the home. Enjoyed for their dynamic shapes that could be judged with similar criteria used for calligraphy — traditionally the highest art form in China - or appreciated for their resemblance to lofty mountains or coiled dragons, fantastic rocks (guaishi) were prized for their abstract qualities as well as their inspiration for imagination.Compare with a related Lingbi rock with one perforation, Ming dynasty, with Southern openwork style stand, illustrated in Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks, Cambridge MA, 1999, p.162.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 97
A carved bamboo 'Qiao Sisters' brushpot, bitong17th/18th centuryThe tall cylindrical vessel crisply carved around the exterior with a continuous scene of two ladies reading in medium relief with finely incised hair and elegant robes, seated on a stool and on an exquisitely detailed daybed with books and archaic bronze vessel issuing flowers, the reverse with a poetic inscription in xingshu calligraphy. 14.3cm (5 5/8in) high.Footnotes:十七/十八世紀 竹雕二喬共讀筆筒The present lot is rendered with the popular scene of the two Qiao sisters, representing the height of bamboo carving in the late Ming and early Qing periods. The Qiao sisters in Chinese history became legendary for their beauty and for marrying two famous war heroes. They were the daughters of the official Qiao Xuan (109-83) of the late Han dynasty, with one marrying the warlord Sun Ce, and the other marrying Sun's close friend, General Zhou Yu.A very similar bamboo brushpot with the Qiao sisters, attributed to Wu Zhifan (active 1662-1722) is illustrated in Shanghai Museum, London, 2007, p.249; where it is noted that 'Wu Zhifan specialised in this technique' of carving away the background to make the figures more prominent. Compare with a similar carved bamboo 'Qiao sisters' brushpot, 18th century, which was sold at Sotheby's Hong Kong, 3 April 2019, lot 3717.For further information on this lot please visit Bonhams.com
Lot 101
A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... 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 102
A very rare pair of carved cinnabar-lacquer 'weiqi' boxes and coversLate 16th/early 17th centuryEach gently curving sides exquisitely carved with three-stringed lutes or sanxian, clappers or paiban, mouth-organs or sheng, and bells, as well conch-shells, fans, crickets, and auspicious symbols, all on a diaper-pattern ground, the gently domed covers carved with ripe lychees borne on leafy branches, each lychee carved with different patterns. Each 12.5cm (4 7/8in) wide. (4).Footnotes:十六世紀晚期/十七世紀早期 剔紅圍棋蓋罐一對The present lot is extremely rare and there seem to be few published examples. The game of weiqi (圍棋) or encirclement chess, which is perhaps better known in the West by its Japanese name of Go, was considered to be one of the four accomplishments of a scholar-gentleman in traditional Chinese society. The other three arts included playing the qin (琴), a seven-stringed zither much enjoyed by Confucius; calligraphy or shu (書); and painting or hua (畫). The decoration of various antiques and musical instruments on the present lot underscore their nature as objects for leisure and entertainment. According to some traditional accounts, the mythical emperor Yao invented the game to enlighten his son. The game which was known then as yi (弈) was also mentioned in the Analects (Lunyu 論語) ascribed to the sage Confucius.Weiqi boxes and covers were continuously made for the elites in Chinese society. See a cinnabar-lacquer carved weiqi box and cover, Southern Song dynasty, in Daiju-ji temple, Okazaki, illustrated in So Gen no bi: denrai no shiki o chushin ni, Tokyo, 2004, pl.117. Compare with a related but earlier pair of cinnabar lacquer weiqi boxes, Xuande six-character mark and of the period, which was sold at Christie's New York, 19 March 2009, lot 581. Compare also with a pair of lacquer weiqi boxes, Xuande six-character mark, late Ming dynasty, illustrated by K.Brandt, Chinesische Lackarbeiten: Linden Museum, pp.132-133, no.80. See also a pair of related cinnabar lacquer weiqi boxes and covers, Jiajing six-character mark and of the period, illustrated in China Lacquerwork & Enamelware Selection, Beijing, 2006, p.59.For further information on this lot please visit Bonhams.com
Lot 140
A very fine and rare white jade 'Guqin' joss-stick holder box and coverQianlong Expertly carved as a guqin with four harmonic markers visible, and seven strings in relief, leading to a cloth cover with pierced roundels and flowers to allow the smoke to rise, the interior of the box carved with an auspicious bat, and joss-stick holder on one end, the box raised slightly on four bracket feet, hongmu stand. 19.2cm (7 1/2in) long (3).Footnotes:清乾隆 白玉雕古琴型蓋盒Provenance: a Swiss private collection來源：瑞士私人收藏In the present lot, the carver has made a joss-stick holder box and cover with a purely literati subject-matter playing the guqin - a seven-stringed zither - is one of the four accomplishments of the scholar. The other three accomplishments being painting, weiqi, and calligraphy. Wrapped and ready for excursion, the carver has cleverly pierced small apertures into the cover imitating embroidered roundels of a cloth bag to allow the incense smoke to rise. Compare with a related pale green jade box and cover in the form of a guqin, 18th century, illustrated by R.Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, p.214, no.164. Compare also with a related white jade 'Guqin' paper weight, early Qing dynasty, illustrated by G.Tsang and H.M.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, p.237, no.226. Another related yellow jade paper weight in the form of a guqin, Qing dynasty, is illustrated in Small Refined Articles of the Study: The Complete Collection of Treasures of the Palace Museum, Shenzhen, 2009, p.163, no.145.See also a pale green jade 'guqin'' box and cover, Qianlong, which was sold at Christie's London, 7 November 2014, lot 440.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y 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 163
A rare pale green jade imperial-poem-inscribed double-sided panelQianlongThe rectangular plaque probably originally a leaf in a jade book, finely inscribed with seven Imperial poems in regular kaishu calligraphy, the stone of pale green stone with some cloudy inclusions, with a later finely-carved and pierced wood stand. The jade 15.5cm (6 1/8in) high. (2).Footnotes:清乾隆 青白玉雕御詩文硯屏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 seven poems inscribed on the jade screen come from the 'Twenty Imperial Poems on the Arrival of Winter' (Yuzhi sheng dong ershi shou 御製生冬二十首) which was composed by the Qianlong emperor. These set of poems were in fact part of a larger cycle of painting on the Four Seasons (Xingshu sishi shihe 行書四時詩合).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 36
A Chinese Famille Rose vase,中国, 粉彩花瓶一件，19世纪中叶mid 19th century, the shoulders with lion mask handles, the spherical body painted with figures on foot and on horseback before a mountainous background, the tall foot with shaped panels depicting a boy on a buffalo and verso a fisherman on a bridge, above false gadrooned border. Ink inscribed calligraphy to the underside. 56cm high.Condition report: The neck reduced and ground down. Very fine hairline crack running all around the base of the neck, visible on the interior and exterior. Some very light enamel chips to the body and base but nothing too detrimental. Gilding rubbed to handles and shaped panels. A blister mark to the interior base rim. Most faults visible on images.
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