QIAN SHUN JU (attributed to, 1239 — 1299)Portraits of Periodical OfferingsChina, 18th century or earlierA handscroll containing two sections of painting in ink and colour on silk, each sealed, depicting foreign emissaries parading gifts of jade, coral and beautifully caparisonned horses, a title slip reading Yuan, Qianshun Ju, Zhígòngtú, and a section of calligraphy on paper with a title reading Zhígòngtú, dated December 11th 1385, stamped with five seals and signed with the name of Zhang Shen, a collector, scholar and calligrapher active at the turn of Yuan and Ming dynasties, explaining he appraised a Zhígòngtú and provided it with an introduction.31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm Provenance: an English private collection, acquired in the 1990s.A very closely related painting dated to the Ming Dynasty is housed in the collection of the Smithsonian's National Museum of Asian Art, Washington DC, accession no F1915.16. The Smythsonian scroll is traditionally attributed to Han Gan (715 — 781), the Tang Dynasty painter renowned for his vivid and spirited depiction of horses from the Imperial stables. Throughout the history of the Chinese empire, the vassal states and tribes were obliged to deliver diplomatic gifts to the court on regular basis. Portraits of Periodical Offerings, Zhígòngtú, (職貢圖 / 职贡图) was a popular theme and a way of recording those foreign tributes arriving at the court and ambassadors delivering them. Each depiction was accompanied by a short description of the diplomat and their country of origin. Examples were commissioned since the Liang Dynasty (526 - 539) and copies made for circulation among the court officials. Horses played a crucial role in these tributary ceremonies as an important commodity and a symbol of status. In Tang dynasty they were imported from great distances as gifts to the Chinese emperors: there was a belief that the steeds form the Sogdian valeys in Central Asia (area roughly covering today's Kyrgyzstan, Tajikistan, Turkmenistan and Kazakhstan) have descended form dragons and have been called Tianma - Heavenly Horses. Some were said to sweat blood, a condition most likely due to a parasitic infection. Both horses and their foreign grooms were in high demand at the subsequent Chinese courts. 《元钱舜举职贡图》18世纪或更早 这幅画卷包含两部分，画布为丝绸，设色，分别有印章，画卷描绘外国使者向朝廷进贡玉器、珊瑚和装饰华丽的马匹。其中一部分为书法，带有简短的题词“洪武乙丑冬至前二日获观钱玉谭职贡图因书其首 ”和五个印章，题签上书有“职贡图”。来源：来自英国私人收藏，购于1990年代。 31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm
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Rubbing of Huang Tingjian's Calligraphy, Qing Dynasty | 黃文節公法書石刻 Huang Tingjian (黃庭堅 1045-1105) was a Chinese calligrapher, painter, and poet of the Song dynasty. He is predominantly known as a calligrapher, and is also admired for his painting and poetry. He was one of the Four Masters of the Song Dynasty (宋四家), and was a younger friend of Su Shi and influenced by his and his friends' practice of literati painting, calligraphy, and poetry; regarded as the founder of the Jiangxi school of poetry. L:29.5cm, W:16.5cm Properties from a Private Japanese Collection
A PAIR OF PORCELAIN CALLIGRAPHY PANELS Gilt characters on a red ground, framed, 20th Century The frame 95 x 32cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE FAMILLE ROSE PORCELAIN PLAQUE Depicts scholars and attendants gathered in a courtyard with architectural elements, trees, and rocks, featuring calligraphy and red seals, framed in wood 28 x 20cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE FAMILLE ROSE PORCELAIN PLAQUE Depicting two birds perched on a rock with chrysanthemums and vines, featuring calligraphy and seals marks, framed in wood 50 x 33cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE CARVED AND GILT CALLIGRAPHY PANEL Carved red lacquered panel with gilt characters '春光及第' Chun Guang Ji Di, with foliate carved surround 118 x 61cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A Chinese calligraphy, 20th century, reads 'pu ti' (Buddhist term of enlightenment), in regular script in the style of Zhao Puchu (1907-2000), inscribed with the signature and artist's seals of Zhao Puchu, ink on paper,65 x 32.5cmCondition ReportCockling and creasing. Staining, foxing and dirt marks throughout.
A Chinese calligraphy couplet, 20th century, in regular script in the style of Shen Meisou (1850-1922), inscribed with a dedication and the signature and artist's seals of Shen Meisou, ink on paper,each 354 x 71cm (2)Condition ReportCreasing and cockling throughout. Small tears to edges, one with a large tear to the lower section.Minor foxing and staining marks.
A Chinese calligraphy, 20th century, in regular script in the style of Wu Changshuo (1844-1927), inscribed with a dedication and the signature and artist's seals of Wu Changshuo, ink on paper,35 x 132.5cmCondition ReportCreasing and cockling throughout. Small tears to edges. Staining, foxing and dirt marks in various locations.
A Chinese calligraphy, 20th century, of a poem, in the style of Yu Youren (1879-1964), inscribed with the signature and an artist's seal of Yu Youren, ink on paper,241 x 129cmCondition ReportTears and holes in various locations, some with signs of old repair. Staining, foxing and dirt marks throughout. Creasing and cockling badly. In poor condition, a/f.
A Chinese calligraphy, 20th century, reads 'Cang Gu Lou' in regular script in the style of Liang Qichao (1873-1929), inscribed with the signature and artist's seals of Liang Qichao, ink on paper,30 x 120cmCondition ReportReceipt not included with the lot.Mounting cut off to edges with tears. Creasing, cockling, foxing and staining throughout.
A group of Chinese calligraphy, 20th century, of quotations from Buddhist sutra in regular script in the style of Huang Binhong (1865-1955), inscribed with the signature and artist's seals of Huang Binhong, ink on palm leaves, accompanied by three handwritten letters, 48 x 6cm (11)Condition ReportLetters with creasings, tears and losses. Palm leaves with holes and dirt marks, one restored, three cracked.
Persian School, 19th century, of a court scene between four arranged columns of calligraphy, gouache on paper heightened with gilt,24.5cm x 17.5cm, framed and glazedProvenance: Acquired by the vendor's grandparents during their time in Pakistan in the 1960s, thence by descent.Condition ReportFrame size 43 x 35cm. Small knocks to frame.One small hole to the centre of the painting of approximately 5mm. A few other very small pin holes. Some fine craquelure. Some smudges to script. Small tears, signs of old repair. Did not examine outside of frame.
CHINESE GRISAILLE-DECORATED 'LITERATI' BRUSH POT QING DYNASTY, 19TH CENTURY 清 成化款 墨彩高士雅聚圖筆筒of cylindrical form, painted on one side with a shed in a dense forest, two learned men served by a boy servant with a wine pot, one writing calligraphy, another drinking, the counter sunk base inscribed with a six-character Chenghua mark in underglaze blue 14.3cm high
Persia, a calligraphy of a poem, a Quartrain, 18th century or earlier. four lines of a Persian poem. With three borders of fine painted flower design, at the bottom a line with text. 25,5 x 16 cm. framed Provenance: Sotheby’s ~ Oriental Manuscripts & Miniatures ~ London ~ 23. 04. 1997, lot 77 [1]
PERSIAN / OTTOMAN GLASS MOSQUE LAMP, LATE 19TH CENTURY with trumpet rim over a globular body with three applied handles, wheel engraved with Arabic calligraphy script and Arabesques, gilded borders, polished pontil scar26cm highWidest point 21cm diameter at main body.Height 25.5cm.A few tiny chips around the upper rim. Surface scratching all over and gilt losses.
Four Chinese snuff bottles19th and 20th centuryComprising: a painted enamel bottle with apocryphal Qianlong four-character mark to base, 5.7cm high; a brass bottle with incised calligraphy, 5cm high, associated stopper; a lapis lazuli bottle in the shape of a leaping carp, original stopper, 8cm high; and an agate bottle with incised flowers, 5.5cm high (4).十九至二十世紀 鼻煙壺四件
A group of Chinese ceramics and one English Staffordshire Chinoiserie teapot and coverQing dynasty, 17th century - late 20th centuryComprising: a pair of underglaze blue, enamelled and gilt tea cups and saucers from the Nanking Cargo, 7.5cm and 11.5cm diameters; a blue-glazed stoneware moulded teapot ad cover, the unglazed base inscribed Yu He (玉合), 16cm wide; an Yixing teapot by Lu Fujun (b.1966), with moulded calligraphy on the sides, reading huahaoyueyuan (花好月圆) and huakaifugui (花开富贵), the base with impressed seal mark Lu Fujun zhi, 陆福君制, the interior of the lid also with impressed seal mark 11.5cm wide, wood stand; and a Chinoiserie Staffordshire teapot and cover, 13cm high (7).清十七至二十世紀 中國及中國風瓷器七件Provenance: the tea cups and saucers, Christies, The Nanking Cargo, lot 5717 (labels to saucers).來源: 茶杯、碟，佳士得，南京號沉船, lot 5717（標籤）。Condition Report: One of the tea cups with rim hairline; one saucer with rim chip to exterior of rim, both with expected firing imperfections, some wear and rubbing to enamels and gilt.Turquoise teapot with fritting and nibbling to edges of spout, a shallow surface flake to the underside of the foot and general firing imperfections.The Yixing with general surface wear and nibbling to edge of the spout. Large pit to the underside.The Staffordshire teapot with two nibbles to the edge of the lid; the spout broken off in several parts and repaired together with stitching.
A pair of Chinese famille rose 'figurative' jardinièreRepublic periodPainted with ladies within landscape, 29cm diameter (2).民國 粉彩繪仕女園景圖紋花盆一對 Condition Report: Expected light wear and rubbing to enamels. One jardinière with star check to the exterior, by the calligraphy, approx. 60x85mm, but only very partially going through the body and visible through the interior, and a smaller star-shaped glaze line next to it, which does not appear to go through the body. There is also a patch of plaster-like surface residue stuck to the interior.The other jardinière also with large star crack, as well as a rim chip and associated rim hairline approx. 13cm long.
PAN LINGGAO (1867-1954)Du Fu's Four Poems on Ancient Sites in running script, 1933Ink on paper, framed and glazed, inscribed and signed Pan Linggao, with two seals of the artist. The calligraphy 64.5cm (25 3/8in) wide x 43cm (17in) high.Footnotes:1933年(癸酉年) 潘齡皋書杜甫詠懷古跡四首 水墨紙本 鏡框款識：癸酉春三月潘齡皋鈐印：潘齡皋字錫九印信宜壽、乙未聯捷翰林Provenance: a Danish private collection來源： 丹麥私人收藏Pan Linggao 潘齡皋 (1867-1954), a native of Anxin, Hebei Province, distinguished himself as a patriotic calligrapher and a politician. In 1904, he passed the Imperial examination and attained the jinshi degree, and was then granted the post of Compiler of the Hanlin Academy (翰林院編修). In 1921, he was appointed as the governor of Gansu Province by the Nationalist government. However, disillusioned by the corruption within the government, he resigned and returned to his hometown in 1922. Later, he moved to Tianjin and Beiping, where he cultivated his passions for poetry composition and calligraphy. His mastery in these fields garnered him widespread acclaim, establishing him as a renowned calligrapher in northern China during the Republic Era. During the tumultuous period of Japanese occupation, he was arrested for refusing to serve as the governor of Hebei Province. In 1948, Pan Linggao wrote several letters to Fu Zuoyi, urging him to negotiate with the Communist Party. After 1949, he served as a consultant to the Military Affairs Committee of the Central People's Government and as a member of the Central Research Institute of Culture and History.Pan's calligraphy is elegant and refined, with a balanced and graceful structure, echoing the timeless subtleties of revered ancient calligraphers such as Zhao Mengfu, Yan Zhenqing and Liu Yong. He was renowned alongside Tan Yankai at the time, earning the saying 'Tan in the south, Pan in the north' (南譚北潘). It was considered prestigious for businesses in Tianjin and Beijing to commission Pan to inscribe their plaques. See a related calligraphy hanging scroll by Pan Linggao, sold by Christie's Hong Kong, 30 November 2015, lot 969.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 UK, see clause 13.For further information on this lot please visit Bonhams.com
A VERY RARE SMALL INSCRIBED ZITAN BRUSHPOT, BITONGSigned Xu Fang and Li Tianzhi, cyclically dated to the Wuxu year corresponding to 1658 and of the periodThe tall cylindrical vessel of dark-brown tone incised around the exterior with a portrait of a gentleman and calligraphic inscriptions in clerical script. 10.5cm (4 1/8in) high.Footnotes:戊戌年（1658） 紫檀雕詩文筆筒「徐枋」「龍湫山人」款Provenance: a Danish private collection來源： 丹麥私人收藏The inscription above the portrait of the gentleman in seal script reads: 蜃園肖景(影) which may be translated as 'The portrait of Shenyuan', with the seal and signature of Xu Fang 徐枋（1622-1694）.The main inscription in clerical script reads: 野態何煩彩莙痕，為留模樣與兒孫。心中應有難言意，不共攜家住鹿門。俟齊園後余自題，崆峒為刊於此。Which may be translated as: Retreating to wilderness (I) should not feel discomfort about consuming wild vegetation, as it serves as a model for the sons and grandsons. Grappling with sentiments that resist easy expression, (I) could not take my family to live in seclusion. After waiting for the completion of Qi Garden, I inscribed this myself. Kongtong carved this here (for me).The signature reads 'Longqiu shanren' 龍湫山人 (The Mountain Man of Longqiu) which is the self-proclaimed title of Li Tianzhi 李天植(1591-1672) who is also known as 'Shenyuan xiansheng' 蜃園先生 (The Gentleman of Shenyuan). Li Tianzhi passed the Imperial examination in the sixth year of the Chongzhen period (1633), gaining the rank of 'juren', but he was carefree by nature and had no intention of pursuing an official career. After the fall of the Ming dynasty, he retired to Chen Mountain and lived in seclusion. He established a school in a temple and made a living by teaching. After residing there for ten years, he found the school affairs too bothersome, so he retreated to his family's estate, Shenyuan, and earned a living by selling his writings and woven baskets. Despite his financial difficulties, when the villagers tried to support him with provisions, he declined their help. Local officials, hearing of his reputation, visited him, but he evaded them by climbing over the wall. See Li Keqiang and Yue Shuzhen, Jin, Yuan, Ming ren cihua 金元明人詞話, Tianjin, 2012, p.665.Compare with a related zitan brushpot, with calligraphy and incised portrait, 17th/18th century, illustrated by M.Flacks, Custodians of the Way: Chinese Scholar's Objects in Precious Woods, London, 2014, p.124.See a also a related inscribed zitan brushpot, 18th century, which was sold at Sotheby's Paris, 18 April 2013, lot 80.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
FOUR CARVED BAMBOO AND BAMBOO VENEER FAN GUARDS MOUNTED WITH FAN LEAFS, TWO PAINTED BY PU JIN (1893-1966), YUN HOUMING, AND BOXIANG JUSHIFan guards signed by Wu Hufan, Wu Disheng, Jin Beilou and He Shaoji, 19th/20th centuryComprising: a folding fan, ink and colour on paper, painted with a scholar by the lake, signed by Pu Jin, with a seal of the artist, the reverse with calligraphy in clerical script by Yun Houming and the seal of the artist; the second with calligraphy in running script, dedicated to Fengbin and signed by Boxiang jushi with two seals of the artist, the fan frame carved with a pheasant perched on a leafy branch and inscriptions with the signatures of Wu Hufan, Wu Disheng and Wang Wei; the third with the fan frame carved with a pheasant perched on a leafy branch of pine tree and inscriptions with the signatures and seals of Jin Beilou and Ziyi jushi; the fourth with the fan frame carved with inscriptions cyclically dated to the Yiwei year (1835) with the signature and seal of He Shaoji. The largest 33.2cm (13 1/8in) long. (4).Footnotes:十九/二十世紀 成扇四把Provenance: a Danish private collection來源： 丹麥私人收藏The fan painted with a scholar by the lake, is inscribed 'Zhuquan gaoyi' 竹泉高逸 (bamboo, spring, and elegant scholar), signed by Pu Jin 溥伒 (1893-1966) and followed by an artist's seal 'Pu Jin yinxin changshou' 溥伒印信長壽 (The seal of Pu Jin Longevity). Pu Jin was the grandson of Prince Dunqin Yicong 奕誴 (the fifth son of Emperor Daoguang) and the eldest son of Prince Zaiying 載瀛. After the Xinhai Revolution, he no longer involved himself in politics and made a living through calligraphy and painting. In 1966, amid the turbulence of the Cultural Revolution, he left home with his daughter and disappeared without a trace. Profoundly influenced by his exposure to the rich repository of Qing Court paintings, he integrated these experiences into his artistic endeavours, inheriting some characteristics of previous renowned painters. See a similar fan painted with 'Scholar by the Lake' and signed by Pu Jin, 1941, which was sold at Sotheby's Hong Kong, 11 October 2021, lot 3007. The art of bamboo fan frame carving originated in the late Ming dynasty, reaching its peak during the middle to late Qing dynasty. Bamboo fan frame carvings often integrated various art forms including poem, calligraphy, painting, and seal engraving. Owing to its widespread acclaim among the literati of the period, many intellectuals and artists contributed to the production of bamboo fan frame carvings, some famous ones as seen in the current lot, including Wu Hufan 吳湖帆, Wu Disheng 吳迪生, He Shaoji 何紹基 and Jin Beilou 金北樓. Wu Hufan (1894-1968) was hailed as a master painter and calligrapher. He was also a important collector and connoisseur of ancient paintings, calligraphic works, and antiques that were largely inherited from his grandfather Wu Dacheng 吳大澂 (1835-1902). Wu Disheng, active around the Republic period, was a student of Qi Baishi, and a famous calligrapher, painter, seal and bamboo carver. He Shaoji (1799-1873), a native of Hunan Province, attained the degree of Jinshi in the 16th year of the Daoguang reign (1836), distinguishing himself as a poet, painter, and calligrapher during the late Qing dynasty. Jin Beilou (1878-1926), also known as Jin Cheng and Jin Shaocheng, was a famous political figure, painter and calligrapher active from late Qing to Republic period.（扇一）：溥伒/運侯名 設色紙本 竹泉高逸圖 成扇 扇面一款識：竹泉高逸 南石居士溥伒鈐印：「溥伒印信長壽」扇面二錄文：言入黃花川，每逐青溪水。隨山將萬轉，趣途無百里。聲喧亂石中，色靜深松裡。漾漾泛菱荇，澄澄映葭葦。我心素已閒，清川澹如此。請留磐石上，釣魚將已矣。款識： 錄王維詩《青溪》以求政茗仁兄指正，時於乙亥仲夏。弟侯名敬寫並學畫。鈐印：「運侯名」扇骨一：萬里長江一小舟，初更停後入瓜州。清風明月行人少，水色山光處處秋。山外青江江外沙，白雲處處有人家。舟中不是仙元在，空有飛來一片花。花見先生妒不休，石公年老當風流。年年三月初三日，人不看花到白頭。仲夏之月刊。 扇骨二：江天一色帶片云，處處空中有月明。江上何人初見月，明月何處初照人。開心日日到青山，山色時時不改妍。我同青山何日老，青山同我已時閑。海上看山二十年，山中同住有神仙，神仙只見雲來去，不許凡人在此間。云刊。（扇二）：水墨紙本 書法 成扇 扇面一款識：鳳斌同志拂暑 家奎 鈐印：「博產館主」扇面二款識：博香館主鈐印：「博香館主」扇骨一刻文：揚州曾聽玉人蕭，廿四橋邊魂黯消。清韻而今何處去，月明依舊湧江潮。刻款：湖帆書 迪生刻竹 刻印：「吳」扇骨二刻款：句宴王偉刻印：「王」（扇三）：成扇扇骨一刻文：團雪上晴梢，紅明映碧寥。店香風起夜，村白雨休朝。刻款：自怡居士刻印：「佛元」扇骨二刻款：北樓刻印：「金」「書印」（扇四）：成扇扇骨一刻文：道以德充聲由業廣刻款：何紹基刻印：予貞扇骨二刻文：禮為教本敬者身基。刻款：乙未仲春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
Small group of blue and white piecesChineseincluding a small lotus bowl with Qianlong mark, 10cm diameter, a snuff bottle, an ink pot and cover, 6cm diameter, a hexagonal pen holder with calligraphy sides, 7cm high and a bird feeder (5) Wear and nicks on the underside of the ink pot. Wear and scratches on the pen holder.
A Chinese blue and white 'hundred antiques' brush potQing dynasty, Kangxi period with apocryphal Jiajing markThe elegantly waisted body finely painted with antique objects in vibrant cobalt blue, one side with a calligraphy inscription, six-character apocryphal Jiajing mark within a double-circle to base, 13cm high.清康熙 青花博古圖紋筆筒，青花楷書「大明嘉靖年製」寄托款Condition Report: Generally good, apart from expected light wear and firing imperfections consistent with age and type.
China. Six copies of Masterpieces of Chinese Painting in the National Palace Museum, Taipei: Published by the National Palace Museum, Taiwan, tipped-in colophon dated 1970, parallel Chinese and English text, printed in colour, original red cloth, lettered in gilt, slipcases en suite, 4to; late 20th c facsimiles of Chinese calligraphy, etc., (16)
Bibliophily. Private Presses: The Rampant Lions Press Miscellany, copy no. 127/185, Cambridge: Will and Sebastian Carter, 1988, original publisher's grey cloth over papered decorative boards, uncut, 4to; Grosvenor, Chater & Co. Ltd. & Abbey Paper Mills, Stock Samples, Volume 2: Boards, polychrome sample book, n.d. [c. 1950], original pictorial and lettered black cloth binder, oblong 4to; Broomhead (Frank), The Zaehnsdorfs (1842-1947), Craft Binders, one of 1,200 copies, Private Libraries Association, 1986, cloth, 8vo; Bertram Rota Catalogue 192, The Printer and the Artist, 1974, original wrappers, 8vo; further books, monographs, off-prints, and ephemera on various branches of bibliophily, bibliography, typography, printing and illustration, paper production, private presses, calligraphy, etc
Three pieces of Chinese porcelain, including a Ming bowl with calligraphy, an 18th century landscape bowl, and a 19th century prunus dish, 28cm diameterThe dish has a very small rim chip. The landscape bowl has a reglued section on the rim, hairlines in the middle, and a couple of small chips. The other bowl has some fritting and glaze wear.
A FAMILLE ROSE 'WU SHUANG PU' HEXAGONAL HAT STANDQianlong four-character mark, 19th century With straight sides, each pierced with a shaped panel, decorated with calligraphy and various figures from the 'Table of Peerless Heroes'. 28.5cm (11 1/4in) high. Footnotes:十九世紀 粉彩鏤空無雙譜帽峝「乾隆年製」款Provenance: Nicholas Panes Collection no.131 (label)For further information on this lot please visit Bonhams.com
XU SENGENG (1826-1890)Calligraphy CoupletInk on paper, pair of hanging scrolls.237.6cm (93 1/2in) x 48.7cm (19 1/8in); 235.8cm high (92 3/4in) x 48.7cm (19 1/8in). (2).Footnotes:徐三庚 書法對聯 水墨紙本 立軸一對款識：宣時布和修德行惠，增榮益誉受福宜年。翯然散人徐三庚褎海書於滬。鈐印：「徐三庚之印信」、「褎海」For further information on this lot please visit Bonhams.com
THREE ALBUMS OF RUBBINGS AND A RUBBING MOUNTED AS A HANGING SCROLLCirca 1918Comprising: an album of rubbings of 25 sheets of rubbing circa 1918, concertina bound with a postscript by Lu Yaoling dated 1923; an album of rubbings of 23 sheets of rubbing with the title Wen Zhengming shutie (The Rubbing of Wen Zhengming); the set of loose rubbings, incomplete, 29 sheets in total.The largest: 59.5cm (23 1/2in) high x 104.5cm (41 1/8in) wide (4).Footnotes:約一九一八年 《葉有道碑》、《文征明書帖》、《多寶塔感應碑文》及立軸一幅立軸款識：隹廿又八年五月既望庚寅，王才周康穆宮。旦，王各大室，即立。宰頵右㝨入門。立中廷，北郷。史黹受王令書。王乎史淢册易㝨：幺衣黹屯、赤市、朱黄、鑾旂、攸勒。戈琱戟、厚)必、彤沙。㝨拜稽首。敢對揚天子丕顯遐休令，用乍朕皇考鄭白、鄭姬寶般。㝨其萬年子子孫孫永寳用。鈴印：「阮氏家廟藏器」、「六舟所拓金石」Provenance: Arthur Probsthain bookshopa letter from the British Museum dated 30 January 1957 addressed to Mr Lyall describing the calligraphy.For further information on this lot please visit Bonhams.com
ZHEJIANG PROVINCE SEA CHART MAP (Zhejiang sheng quan hai tushuo)Qing DynastyInk and colour on paper, with a calligraphic description as the title, hand scroll.The calligraphy: 41.5cm (16 3/8in) high x 56cm (22in) wide; the map: 41.5cm (16 3/8in) high x 564cm (222 in) wideFootnotes:清 浙江省全海圖說款識：謹按浙海自東南一帶，紆迴廣濶，盤旋通達，逼臨大海者，定海黄巖溫州皆設總兵一員，各率所轄員弁舟師出哨遊巡，以資保障。内定海孤懸海外，西與寕波相爲犄角，東至蓮花大洋，北達乍浦，與江南崇明接壤，南與黄巖温州互相聯絡，與福建烽火營交界。更有温属玉環，乃懸海之區，設水師參将一員，率領弁兵駐防巡守。乍浦逼臨海濵，界連江南，爲海汎之要口。設水師參将一員，滿漢駐防至提標右營。設立水師船隻，每年四季，奉委將偹千把，輪駕戦船，分巡定黄温所属海汛，稽察各營哨巡官兵勤惰，其海島懸山各分界限，汛守臺寨，防範纂嚴。海不揚波，共慶昇平。漌繕水師沿海全圖，分别營縣山嶼島嶴，水程更数開載於後：今開：自乍浦至黄盤一更。黄盤至伏龍山一更。伏龍山至蛟門一更。蛟門至黄牛礁一更。黄牛礁至舟山衜頭一更。舟山衜頭至星羅一更。星羅至青龍港一更。青龍港至温州嶼一更。温州嶼至東西柱一更。東西柱至鞍子頭一更。鞍子頭至大目山一更。大目山至旦門一更。旦門至鎖門一更。鎖門至銅瓦門一更。銅瓦門至三門一更。三門至斷棚一更。斷棚至牛頭宫一更。牛頭宫至聖堂門一更。聖堂門至川礁一更。川礁至海門一更。海門至榔機山一更。榔機山至馬蹄嶴一更。馬蹄嶴至松門一更。松門至調班洋一更，調班洋至銅鉄礁一更，銅鉄礁至乾港一更，乾港至長峙沙頭一更。長峙沙頭至黄坎門一更。黄坎門至三盤一更。三盤至小門一更。小門至黄華關到鳳凰洋一更。鳳凰洋至琵琶洋一更。琵琶洋至炎亭一更。炎亭至金鄉一更。金鄉至草嶼一更。草嶼至北關一更。乍浦起至北關止共計三十六更，每更約計水程六十里不等，統共約計水程二千一百余里合併登明。Provenance: an English private collection.This detailed military chart depicts coastal defences along the Zhejiang coast, charting around 300 miles of coastline with areas labelled in detail and red lines marking out divisions of authority. Further notes are listed in a calligraphic inscription at the start of the hand scroll.For further information on this lot please visit Bonhams.com
AN ALBUM OF PITH PAINTINGS, FOUR PITH PAINTINGS AND AN ALBUM LEAFThe red brocade-mounted album with 11 leaves capturing various scenes from daily life; the four pith paintings in an envelope; an album leaf with calligraphy opposite a figurative painting signed Ke Jiusi.The largest: 38.4cm (15 1.8in) high x 33.8cm (13 5/16in) wide (3).Footnotes:通草畫冊頁十一開、通草畫四幅及柯九思作畫一張Provenance: Arthur Probsthain bookshop款識：漢章帝時，大旱上欲封爵諸舅，馬太后不許。言事者以為不封外戚之故，有司請依舊典，太后詔曰：凡言事者，皆媚吾以要福耳，昔王氏五侯，同日俱封，其時黄霧四塞，不聞澍雨之應，先帝防慎舅氏，不令在樞機之位。帝省詔乃止。鈴印：「柯九思印」、「柯敬仲氏」For further information on this lot please visit Bonhams.com
LIN SUYUAN (1890-1967)CalligraphyInk on paper, mounted as scrollsSigned Suyuan.The first: 40.5cm (16in) high x 54.5cm (21 1/2in) wide; the second: 62cm (24 3/8in) high x 130cm (51 3/16in) wide (2).Footnotes:林素園 書法兩幅 立軸 水墨紙本Provenance: Arthur Probsthain bookshopFor further information on this lot please visit Bonhams.com
ZHAO ZHECHENCalligraphyInk on paper, a pair and set of five hanging scrollsDated bingzi year (1936).Each work 161cm (63 3/8in) high x 40.5cm (16in) wide (7).Footnotes:肇哲塵 書法一對及五幅 水墨紙本 立軸 一九三六年〈一〉公有奇貨，壽同金石。子乘祖武，國之干城。貝子仁老先生補壁，丙子秋七月中旬北平肇哲塵寫於愛日草軒之南窗下，薛玉海敬贈鈐印：「潔華軒」、「臥游五嶽」、「蔡舫」〈二〉魯正叔之穸作槃其御子子孫孫永壽用之。魯正叔槃，右文十七子係魯正叔之穸作槃其御子子孫孫永壽用之。正叔二字雖不見於經傳，必魯之公族也，癡道人臨。鈐印：「自而祐之吉無不利」、「如月之恆」〈三〉仲斯大它鑄其寶鬲其萬年子子孫孫永寶。右仲斯鬲銘，為仲斯大它鑄其寶鬲其萬年子子孫孫永寶。感時生摹。鈐印：「翰墨怡情」〈四〉吾水道既平既止嘉日樹則天子永寧日隹丙申。右岐陽石鼓文十九字，周宣王太史籀所篆，歲月深遠，波泐殆盡，以其可辨者刻之於石，雖不成文，然典型尚在，劉與好事共之。哲塵。鈐印：「説到入情劍欲鳴」〈五〉右林左泉，後岡前道，萬世之寧，茲焉是寶。右比干墓銅盤，上鏤右林左泉，後岡前道，萬世之寧，茲焉是寶。十四字，誌于攷古錄中。哲塵摹。鈐印：「一聲高唱洞庭秋」〈六〉唯八月初吉庚午，邛仲之孫伯戔自作饋盫，其眉壽萬年無疆，子子孫孫永保用之。邛仲盫右銘邛仲之孫伯戔自作饋盫，説文云邛在濟陰，玉篇云邛在山陽，呂氏攷古云饋盫著，以捧運湯飯而加覆蓋耳。肇哲塵。鈐印：「恃酒文章益不佳」Provenance: Arthur Probsthain bookshopFor further information on this lot please visit Bonhams.com
DONG GAO (1740-1818)Landscapes, 1763Album of eight leaves, three ink on paper, five ink and colour on paper, each leaf inscribed by the artist and signed Dong Gao or Zhelin, each leaf with one or two artist's seals reading Dong Gao and Zhelin, the final leaf dated Qianlong Guiwei (1763). Each leaf, 27.3cm (10 3/4in) x 35.8cm (14 1/8in).Footnotes:董誥 山水 設色紙本 册頁八開 一七六三年封面 款識：董文恭公山水畫寳。畫史載公於乾隆癸未傳臚，此幀乃於是年之手筆，計成八頁，悉書傑作，洵堪寶貴。濂志。鈴印：「竹解虛心是我師」〈一〉款識：石壁巖巖翠倚空，踈松謖謖灑清風。夕陽返照詩人杳，一杵鐘聲已斷虹。擬馬河中法。富陽董誥。鈴印：「董誥」「蔗林」〈二〉款識：從來愛竹是吾家，墨雨如烟染白麻。一片秋聲橫斷壑，半江殊雨是平沙。蔗林畫。鈴印：「董誥」「蔗林」〈三〉款識：南田老人惲壽平有此畫本，惟曲渚踈林層次分明，誠非學者所及，況皓月一輪，霧氣滿幅，尤難下筆乎。西京董誥。鈴印：「董誥」「蔗林」〈四〉款識：新波獵獵弄翠蓋，雨後雲山半有無。一段勝情誰領略，雖從畫裏喚方壺。西京仿文待詔法。鈴印：「董誥」「蔗林」〈五〉款識：平遠之法，惟倪雲林高士獨擅專長，余今變其筆法，用其畫意，而成此幀，殊未能免效顰之誚，已擲筆一粲。董誥。鈴印：「董誥」「蔗林」〈六〉款識：書樓高柳翠煙迷，樓外篁聲入水溪。風掩歌舞春不散，漁翁已到板橋西。仿元人畫作，蔗林。鈴印：「董誥」「蔗林」〈七〉款識：曾有名家畫山泉圖，有筆有墨，洵可愛也，惜未署名，殆隱君子流人焉。董誥。鈴印：「董誥」「蔗林」〈八〉款識：風壑晴泉清，山遲曉更明。夜來飛雪重，猿鶴凍無聲。乾隆癸未冬十月，蔗林董誥。鈴印：「董誥」「蔗林」Provenance: Bonhams New York, 16 March 2015, lot 8150Dong Gao 董誥 (1740-1818), courtesy name Yalun (雅倫) and Xijing (西京), style name Zhelin (蔗林), was born in Fuyang, Zhejiang Province, the eldest son of the court painter Dong Bangda (1699-1769). An accomplished scholar from an early age, Dong Gao received his Jinshi degree in 1764 (the 29th year of Qianlong reign), at the young age of 24 sui and a year after this album was painted. He served Emperors Qianlong and Jiaqing for more than four decades and held numerous illustrious posts and supervised the compilation of several Imperial histories and anthologies. The emperors also prized Dong Gao's calligraphy and paintings, many of which were included in the Palace Collection.See a set of four albums of West Lake by Dong Gao, which was sold at Christie's New York, 18 March 2009, lot 344.For further information on this lot please visit Bonhams.com
A LARGE BLUE AND WHITE 'PRINCE TENG'S PAVILLION' BALUSTER PORCELAIN JAR Probably 18th century, the body divided into four panels, two of calligraphy and two with extensive mountainous landscapes with pavilions and boats, the jar is inscribed with the poem 'Teng Wang Ge' or 'Prince Teng's Pavillion' by the Tang dynasty poet Wang Bo and with corresponding landscapes Notes: A comparable 'Teng Wang Ge' jar of a similar scale, sold at Christie's, London, Rooms. as Portraits: Micheal S. Smith, Eaton Sq., London, 12 Sep 2018, Lot 10; also for two vases of comparable type, both dated 1720, see Christie's Paris, Art d'Asie, 13 Dec 2017, Lot 32 and Sotheby's Paris, Art d'Asie, 18 Jun 2020 Lot 13 49cm high Provenance: Property from the collection of Yves Prunier Condition: Condition Report A section of visible restoration to the rim which continues vertically down the side of the jar until the foot. Scratches and general wear throughout to the glaze. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Additional Information: Property of Pierre Prunier
An Islamic Ottoman Metal-threaded Embroidered Textile,20th Century, with Islamic Calligraphy and Ceremonial Motifs.Approximately 238 x 133cmThe embroidery features prominently on a red fabric, with the vibrant contrast of gold and silver metal threads adding a luxurious and regal appearance to the work. The use of metallic threads was a hallmark of high-quality Ottoman textile art, symbolizing wealth, power, and religious devotion.At the centre, the inscription of the Shahada (the Islamic declaration of faith) is boldly displayed in vibrant red against the gold and green background. Surrounding the central panel are additional inscriptions in flowing Arabic script, likely praising Allah and Prophet Muhammad (PBUH), as well as other key Islamic figures. The corners and sides are embellished with ornate roundels containing calligraphic medallions that likely include further blessings or names of the Rashidun Caliphs.One notable feature in the centre is the depiction of a ceremonial vessel or lamp, symbolizing light and knowledge in Islamic tradition, surrounded by the names of the first caliphs, emphasizing the unity of religious and political authority in Ottoman culture.Provenance: Private UK collection.
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