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Lot 234
AN EXTREMELY RARE AND IMPORTANT CLOISONNÉ ENAMEL 'POMEGRANATES' CIRCULAR BOX AND COVERIncised Xuande six-character marks and of the periodThe slightly-domed cover exquisitely enamelled in gradating tones of red, green and yellow in the centre with two ripe pomegranates, one bursting with ruby-red seeds highlighted with white, issuing from gnarled gold branches with blossoms and further smaller fruit, the undulating leaves with shades of red, yellow and blue picked with gold veins, the vertical sides of the cover and box decorated with formal lotus scrolls, the slightly recessed base incised with a Xuande six-character mark, the interior of the cover similarly incised with a six-character mark. 12cm (4 3/4in) diam. (2).Footnotes:明宣德 掐絲琺瑯石榴紋蓋盒「大明宣德年製」楷書刻款Provenance: Spink and Son, Ltd., London, purchased by Lord Cunliffe in 1946Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.E2), and thence by descentPublished, Illustrated and Exhibited: Mostra D'Arte Cinese (Exhibition of Chinese Art), Venice, 1954, p.203, no.754The Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of The Ming Dynasty, 15 November - 14 December 1957, no.300 (published and exhibited)H.Garner, Chinese and Japanese Cloisonné Enamels, London and Boston, 1962, pl.23 (published)Rolf, Lord Cunliffe, began collecting Chinese art in London towards the end of the Second World War. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James in London, including galleries such as Bluett & Sons, John Spark, and Spink & Son. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl. The present important cloisonné enamel box and cover, Xuande marks and of the period, has been a prized object in the collection, previously exhibited on two occasions, lastly in 1957, and published in the important and early publication by Sir Harry Garner in 1962.來源：1946年，倫敦古董商Spink and Son, Ltd.劍橋大學菲茨威廉博物館東方藝術部名譽主任，Rolf，Cunliffe勛爵（1899-1963）舊藏（藏品編號E2），並由後人保存迄今展覽著錄：「Mostra D'Arte Cinese（中國藝術展）」，威尼斯，1954年，頁203，編號754英國藝術委員會與倫敦東方陶瓷學會，「The Arts of the Ming Dynasty（明朝藝術）」，1957年11月15日-12日14日，編號300（展覽並出版）H.Garner著，《Chinese and Japanese Cloisonné Enamels（中國與日本掐絲琺瑯）》，倫敦和波士頓，1962年，圖版23Rolf，Cunliffe勛爵，第二次世界大戰後期開始收藏中國藝術品；並在之後的二十年內有規律地光顧倫敦當時最為頂尖的中國藝術古董商，如Bluett & Sons、John Spark、和Spink & Son 等，購藏了五百餘件中國藝術品，所藏涵括瓷器、玉器、和青銅器等門類。其倫敦的公寓位於梅費爾地區腹地，與著名中國藝術經紀Peter Boode隔街相望；而他就將其日益壯大的中國藝術收藏收納在公寓浴室中毫不起眼的金屬櫃裡！登門造訪的收藏家，譬如瑞典國王，則會花幾個小時坐在浴缸邊沿，愉快地交流諸如玉雕來通盃或鈞窯盌上的精彩細節。本例明宣德掐絲琺瑯石榴紋蓋盒，「大明宣德年製」楷書刻款，在Cunliffe勛爵的收藏中也備受重視，曾經兩次公開展出，最近一次展於1957年，且被收錄在早在1962年出版的加納爵士（Sir Harry Garner）關於掐絲琺瑯的重要著作中。Cloisonné enamel wares, though introduced in the 14th century during the Yuan dynasty, are widely considered to have reached artistic maturity in the early 15th century during the early Ming dynasty. In terms of their dynamic designs and powerful palettes, framed and heightened by the richly gilt wires, the Xuande period represents the pinnacle of cloisonné enamel craftsmanship as exemplified in the famous 'dragon' jars and covers in the British Museum, London and the Uldry Collection in Museum Rietberg in Zurich. The present lot is an exceptionally rare example of this early period, bearing two incised Imperial Xuande reign marks, demonstrating the bold palette and decorative features of the period, exquisitely shown in the juicy translucency of the ripe and bursting fruit. Apart from being extensively published, the present lot is important as it is one of only four published similar cloisonné enamel boxes. Each of these four boxes is similar in form, in size (approximately 12cm diam.), in the lotus scroll decoration around the sides of the box and cover, and in the main decorative motif being a type of auspicious fruit: pomegranates, persimmons, melons and grapes. Importantly, each of these boxes are doubly marked with an incised Xuande six-character reign mark, once on the underside of the box and again on the interior of the cover. The Cunliffe box is the only one remaining in a private collection with the other three in public museums and institu... For further information on this lot please visit Bonhams.com
Lot 264
A famille verte 'Lady and boy' saucer-dishKangxiFinely enamelled to the interior with an elegant lady holding a book in her right hand and seated on a garden stool beside a table supporting a square vase holding branches of prunus, the lady's tiny lotus foot exposed slightly from underneath her long gown cascading in neat pleats, a boy beside her stands attentively gazing over the terrace with gnarled rocks, all surrounded by a diaper-pattern band around the rim, the base with channelled foot and a leaf within a double circle. 35.1cm (13 3/4in) diam. Footnotes:清康熙 五彩教子圖盤Provenance: Warmington & Co., Inventory & Valuation of the Furniture at Mersham Le Hatch, May 1926 (Knatchbull Papers, Kent Archives, Maidstone, U951 E14 U951 Z54-4) Countess Mountbatten of Burma (1924-2017)來源：Warmington & Co.，《Mersham Le Hatch大宅之家具陳設估值清單》，1926年5月（英國梅德斯通肯特郡檔案處，Knatchbull文件，U951 E14 U951 Z54-4）緬甸的蒙巴頓女伯爵（1924-2017）舊藏Patricia Edwina Victoria Knatchbull, 2nd Countess Mountbatten of Burma, Lady Brabourne, CBE, MSC, CD (1924– 2017) was a British peeress and the third cousin of Queen Elizabeth II. She was the elder daughter of heiress Edwina Ashley, a patrilineal descendant of the Earls of Shaftesbury, first ennobled in 1661, and Admiral of the Fleet the 1st Earl Mountbatten of Burma. Lady Mountbatten succeeded her father when he was assassinated in 1979, as his peerages had been created with special remainder to his daughters and their heirs.Dishes decorated in the famille verte palette with elegantly-dressed women in gardens were popular during the Kangxi period. Dishes of this type appear to represent the idealised concept of a cultured lady instead of a historical person, although the motifs were probably inspired by popular stories, paintings and prints. See a related dish, Kangxi, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.315, no.187.For further information on this lot please visit Bonhams.com
Lot 296
A RARE PAIR OF COPPER-RED-DECORATED 'FIVE BATS' BOWLSYongzheng six-character marks and of the periodEach finely potted with deep curving sides rising from a straight foot to a gently flared rim, the exterior painted with four bats swooping and soaring in copper-red silhouettes, the intensity of the red subtly shifting from deep crimson to a pale pinkish-gray at the wing tips, all on a white ground, the interiors each with a further bat in flight. Each 15.5cm (6 1/8in) diam. (2).Footnotes:清雍正 釉裏紅五蝠紋盌一對「大清雍正年製」楷書款Provenance: Sotheby's New York, 12 September 2018, lot 142A UK private collection來源：紐約蘇富比，2018年9月12日，拍品編號142英國私人收藏The five bats, wufu, are a homophone for the 'Five Blessings', which are long life, wealth, health, love of virtue and a good end to one's life. The pattern was one of the designs on porcelain supplied to the Court listed in 1729 by Tang Ying, director of the Imperial porcelain factory active during the Yongzheng and Qianlong reigns, and translated by S.Bushell in Oriental Ceramic Art, London, 1981, p.198.Designs created through red-glaze silhouettes originated however in the early Ming dynasty and are best known from the Xuande period, but the technique had already been developed during the preceding Yongle reign, when silhouettes of animals and fish were used in combination with underglaze-blue designs; for an example excavated from the late Yongle stratum of the Ming Imperial kiln site, see Imperial Porcelain of the Yongle and Xuande Periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong, 1989, no.38, and see also a Xuande period example recovered from the Xuande stratum of the Ming Imperial kiln site at Jingdezhen and included in Xuande Imperial Porcelain Excavated at Jingdezhen, Taipei, 1998, nos.101-102.Notoriously difficult to achieve, copper-red glazes had been largely abandoned at Jingdezhen since the early Ming dynasty and were revived during the Kangxi reign. Research by Peter Lam and other leading scholars indicates that the inspiration to start using again the celebrated but technically challenging pigment occurred during the early years of the Kangxi period under the direction of Zang Yingxuan, who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns and serve as Imperial supervisor. It was in these early years of the Qing dynasty that a series of copper-red mythical beasts appeared, their abstracted rich red forms boldly contrasting with a white porcelain body covered with a pale blue-tinged transparent glaze.By the Yongzheng period, the technique had been perfected and achieved its finest form of expression with the crimson-red-glaze silhouettes of fish, pomegranates and most rare of all, bats, appearing on bowls, stem bowls and dishes, and bearing Imperial reign marks. This silhouette technique, which makes use of the copper-red glaze, possibly sandwiched between layers of clear glaze, is different from the more common method of painting designs in copper-red pigment directly onto the body before the glaze is applied. The present technique, if successfully handled, results in intensely red designs which do not allow for the rendering of detail and are best suited for silhouettes.A very similar bowl with five bats, Yongzheng six-character mark and of the period, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.116. A similar pair, in the Malcolm McDonald Collection, Oriental Museum, Durham University is illustrated by Ireneus László Legeza, A Descriptive and Illustrated Catalogue of the Malcolm McDonald Collection of Chinese Ceramics in the Gulbenkian Museum of Oriental Art and Archaeology School of Oriental Studies University of Durham, London, 1972, pl.LXXVIII, nos.218-219. Another similar example is illustrated by B.Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl.788.Compare with a similar underglaze copper-red-decorated 'bats' bowl, Yongzheng six-character mark and of the period, which was sold at Christie's Hong Kong, 1 June 2011, lot 3527.For further information on this lot please visit Bonhams.com
Lot 305
A exceptionally rare Imperial revolving pale-green-glazed bowl on gilt and silver teadust-glazed standQianlong seal mark and of the period The bowl with gently curving shallow sides rising to a slightly everted rim, applied around the exterior with loop-handles, the exterior moulded with upright plantain leaves around the base and chrysanthemum florets between the handles, covered in a pale green glaze, the rim and handles gilt, the bowl supported and fitted onto a five-legged stand with shaped aprons, covered with a green teadust glaze and gilt with scrolling acanthus leaves. 17.5cm (6 7/8in) wide. Footnotes:清乾隆 青釉描金連茶葉末釉座轉足盌Provenance: a Scottish private collection來源：蘇格蘭私人收藏The present lot is extremely rare and only one other identical example, with a cover, in the Shanghai Museum and probably the pair to this lot, has been published; see Chen Xiejun, Shanghai Museum, Hong Kong, 2007, p.102, no.128. Few other related examples appear to have been published. The present lot not only displays supreme technical virtuosity, but encapsulates the Qianlong Emperor's drive for innovative and playful designs.The most unusual and rare feature of the present lot is its revolving technique. This represents the most difficult aspect to the potter, as the master potters would have had to create two interlocking pieces with different glazes that would still freely and accurately move after firing in the kiln. By the Song dynasty, if not earlier, it was customary to display some ceramic vessels on lacquer or porcelain stands to elevate them and set them above the mundane. In the twelfth and thirteenth centuries some vases were made with non-detachable ceramic stands, which provided a model for this Court porcelain. The daring combination of a pale celadon glaze for the bowl with gilt and teadust stand reflects the two sides of Qing Imperial taste: revival of Song dynasty elegance and Qianlong period flamboyance and technical perfection.Although the Qianlong Emperor commissioned and pushed for these innovative pieces, this revolving bowl represents a new and creative type of ware designed specifically by Tang Ying, Director General of the Imperial Kiln. Tang Ying served at the Imperial Kiln for over twenty-eight years under the Yongzheng and Qianlong reigns, and his tenure was noted for some of the finest porcelain produced during the Qing dynasty. According to the Qing Court archives, however, in the sixth year of the Qianlong reign (corresponding to 1741), the Qianlong Emperor criticised him and his wares in the following memorial (《遵旨敬谨办理陶务折》) :'The wares produced over the past years are far inferior to those produced during the Yongzheng period'.To please the Emperor, Tang Ying created some of the most ingenious and original designs of porcelain, including those with a revolving mechanism. In his memorial in the eighth year of the Qianlong reign (corresponding to 1743), Tang Ying proudly proclaimed 'nine new and creative types [of porcelain]': 今自三月初二日開工之後，奴才在廠儹造得奉發各色錦地四團山水膳碗、盃盤，並六方青龍花瓶等件外，奴才又新擬得夾層玲瓏交泰等瓶共九種，謹恭摺送京呈進。其新擬各種，係奴才愚昧之見，自行創造，恐未合式，且工料不無過費，故未敢多造。伏祈皇上教導改正，以便欽遵，再行成對燒造。餘外尚有新擬瓷器數種，亦係奴才自行擬造，已與催總老格詳細講究，囑其如式辦理，俟得時隨後呈進。奴才於四月十四日自廠回關，八月內當再赴窯廠，另容料理新樣呈進。which may be translated as:'Today since the start of work on the second day of the third month, your humble servant has made four landscape bowls, cups and plates, and a six-sided green dragon vase in the factory. A total of nine kinds of bottle vases are newly proposed, including the exquisite reticulated double-layer vase and other vases. I just fear that they are not suitable, and the labour and materials are not without excessive costs, so they dare not make more at the kiln. I humbly ask for your Majesty's opinions, so that they could be followed, and then fired in pairs. Moreover, there are also several new types which have been made based on my own ideas. They have been discussed in detail with the chief potter. They will be submitted later when they are available. Your humble servant returned from the factory on April 14 and went to the kiln again in August to allow new dishes to be presented.'The Workshop Archives of the Zaobanchu on the eighth year of the Qianlong reign (1743) also mention a 'revolving bowl in powder-green glaze with stand' (冬青有座轉旋靶碗一件) which was incorporated into the Imperial collection. Some scholars have argued that this refers to a revolving bowl in the National Palace Museum, Taipei, illustrated in Stunning Decorative Porcelains from the Ch'ien-lung Reign, Taipei, 2008, p.187, no.63.See a famille rose stem bowl with attached celadon-glazed stand, Qianlong seal mark and of the period, in the Smithsonian, Washington, illustrated by Yang Enlin, Chinesische Porzellanmalerei im 17 und 18 Jahrhundert, Munich, 1986, no.81. See also a celadon-glazed bowl with attached revolving famille rose stand, Qianlong seal mark and of the period, illustrated by A.Hougron, La Ceramique Chinoise Ancienn, Paris, 2015, p.260.For further information on this lot please visit Bonhams.com
Lot 9
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
Lot 187
Vintage collectables, jewellery, gold-plated chain, bracelets; two powder compacts; two christening gowns; prints, two vesta cases, Edward VII and 1908 Exhibition; plated flatware; large collection of thimbles, ceramic, wood, metal, glass, one silver; German "Addiator Universal" with original pointer; two Mabel Lucie Attwell prints "The Jaeger Twins".
Lot 400
A MOULDED CERAMIC TILEKorea, probably Silla DynastyMoulded in relief with mythical beast mask with bulging eyes and open mouth in a fierce expression, set within an inverted U-form frame decorated with bosses in relief. 17.5cm (6 7/8in) highFor further information on this lot please visit Bonhams.com
Lot 417
A GROUP OF DINGYAO, QINGBAI AND LONGQUAN WARESSong to Yuan/Ming DynastyComprising: a qingbai dish moulded with chilong and scrolling foliage and lotus sprays; a Dingyao lobed dish; a Dingyao dish moulded with Mandarin ducks amongst lotus within a border of fish amongst waves; a Longquan celadon shallow bowl moulded with twin fish to the centre; a lobed Longquan bowl carved to the interior with panels of foliate scroll motifs; and a cream glazed baluster vase with ribbed neck and everted rim.The vase: 24cm (9 1/2in) high (6).Footnotes:Exhibited: The Longquan bowl - Oriental Ceramic Society 1947 Exhibition, no. 159 (label).For further information on this lot please visit Bonhams.com
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