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A PLAYFUL HIRADO PORCELAIN NETSUKE OF A CHILD CARRYING AN INFANTUnsignedJapan, 19th century, Edo period (1615-1868)Depicting a karako (Chinese boy) carrying an infant, one foot crossed, the other bent as he attempts to hoist the playful infant in the air. The boy dressed in a deep blue robe with brown highlights, his face partially covered by the child's hand, the infant with a wide smile on his face, the tongue sticking out, teasing the onlooker. The back with generously hollowed, asymmetrical himotoshi.HEIGHT 4.7 cmCondition: Very good condition with minor wear and firing irregularities including few darks spots and very minor pitting.The fragility of porcelain and utilitarian function of the netsuke form an incongruous combination. Yet, ceramic netsuke such as this piece depicting a Chinese boy (karako) carrying an infant were extremely popular.Museum comparison:A Hirado ware netsuke of a child carrying an infant is in the Metropolitan Museum of Art (The MET), New York, accession no. 23.225.81.Auction comparison:Compare a closely related Hirado ware netsuke of a boy with a Daikoku mask at Zacke, Fine Japanese Art, 3 December 2021, Vienna, lot 290 (sold for EUR 2,402).

A pair of Chinese porcelain models in the form of Fo dogs together with other similar ceramics

Two Chinese Porcelain Ginger Jars and Covers, 19th century, painted in underglaze blue with the prunus blossom and cracked ice pattern, 15cm (2) One jar with losses and cracks to the rim. No damage to the other jar or either lid. No restoration.

Decorative Household Ceramics, to include Studio Pottery, Wedgwood blue Jasper ware, 20th century Chinese ginger jars, Spanish porcelain figures, majolica and a Japanese carved wood figure (one tray and two boxes)Dragon Dish - two chips to the rim with hairling crack emitating from them and some firing floors

Two Chinese Porcelain Provincial Ginger Jars, 17th century, painted in underglaze blue with typical landscapes, one with cover, 16cm

Three Chinese Porcelain Ginger Jars and Covers, crackle glazed and enamelled with figures, together with a further six ginger jars, including a Provinicial example painted in blue (one tray)Thousand Boy ginger jar - is lacking cover but otherwise ok, provincial ginger jar with a hairline crack and lacking coverBlue and Ginger jar and cover  - with multiple glaze chips and firing imperfections, with the exception of two further ginger jars lacking cover, they are in good order

Chinese Porcelain Ginger Jar, Kangxi mark but not of the period, of octagonal form, painted in underglaze blue with prunus blossom, 14.5cm high together with a similar example with associated cover, painted in famille rose enamels, and a further two famille vert ginger jars (4)As stated in cataloging three covers lacking, otherwise in good condition

A Chinese Twin Handled Bronze Vase, and a quantity of Chinese and Japanese porcelain, including Imari dish, bottle vase and Jiajing reign mark but later, prunus blossom vase, etc (one shelf) Small sleeve vase, large chip and hairline crackLarge sleeve vase, with a large loss to the rim and hairline cracks, blue and whie vase is repairedBottle vase, in good conditionImari charger, heavy wear  Jardiniere - with heavy restorationWooden figures are broken and with missing elements, bronze vase with repaired handles

A Chinese Porcelain Baluster Vase, Qing Dynasty, with twin mask and loop handles, yellow ground collar and painted in famille rose enamels with flowers under a lambrequin border, 45cm highA large impact fracture to the shoulder, which has several very large cracks eminating from it and with some rubbing and wear to the painted surfaces

Two Modern Chinese Porcelain Table Lamps, decorated in underglaze blue, one of hexagonal baluster form, 48cm to fitting (2)

An Assortment of Table Lamps, to include three Chinese porcelain blue and white examples, two pairs of onyx lamps, Japanese porcelain and novelty wooden examples, together with a quantity of shades (qty)

A Pair of Chinese Porcelain Models of Parrots, Kangxi style, green glazed and on pierced rockwork bases, 20cm (2)Good condition. No damage or repair.

Chinese Porcelain Vase, Qianlong reign mark but not of the period, of square section, moulded in relief with dragons and pheonix, painted in brightly coloured enamels, 27cm high (drilled base)Large deep cut out to the foot for cable and the vase has been drilled, where it has been a lamp, otherwise in good order

RARE BRONZE INCENSE BURNER IN THE FORM OF A DUCK STANDING ON TOAD MING DYNASTY, 17TH CENTURY 明 銅寶鴨戲金蟾薰爐 cast standing with one leg on a three-legged toad, head turned to the right and beak ajar, the wings with plumage finely rendered and opening up to the vessel, on a bespoke wooden stand Dimensions:35.2cm high; 3760g Provenance:Provenance: Leonard Gow (1859–1936), thence by family descent. Born in Glasgow, the son of a shipping magnate, Leonard Gow attended Glasgow University in 1884 to spend a year studying Moral Philosophy. He became senior partner in the shipping company Gow, Harrison & Co, director of the Burmah Oil Company and chairman of several other companies. A noted philanthropist, he founded the Leonard Gow Lectureship on Medical Diseases of Infancy and Childhood in 1919. He was given an Honorary Degree in 1934. He began collecting Impressionist art, and Chinese and Japanese porcelain around 1880. His collection of well over 400 prints by Muirhead Bone, which includes many rare impressions, was presented by his trustees in 1965 to the Hunterian Art Gallery, University of Glasgow. A selection of Chinese porcelains from Leonard Gow, notably lot 354, a pair of Yellow and Green 'Dragon' bowls, Yongzheng mark and period, were sold in this saleroom on 2 December 2014.As remembered by the current owner (the great-grandson of Leonard Gow), the present lot was displayed in the hall at his grandparents' family home at Hallhill, Renfrewshire during the 1960s and 70s. Note: Note: Bronze incense burner in the form of a goose or duck, either standing one-legged or two, is a relatively common subject matter. The three-legged toad, known as jinchan in Chinese, is a beloved mythical animal believed to beckon wealth, usually depicted with the immortal Liu Hai. However, it is unusual to see the combination of a duck standing on a toad. A comparable example, dated to the Ming dynasty, is in the Guanfu Museum, note the similarity of the composition of the duck and toad. According to the museum note, 'duck', in Chinese ya, is a homophonic pun for 'press' or 'insistence', and the toad symbolises wealth. The duck standing sideway on the toad implies a guaranteed unexpected, or sudden gain of wealth.Sold examples of only the duck, Ming dynasty, standing on one leg like the present lot, can be found in auctions, one at Sotheby's Paris, 16 June 2022, lot 72, the other at Christie's New York, 29 Jun 2021, lot 99. A related example of a bronze 'Liu Hai and toad' censer, 17th century, was sold at Sotheby's London, 18 May 2018, lot 437.

COLLECTION OF ART REFERENCE BOOKS ON ASIAN CERAMICS中國陶瓷藝術參考書籍（共八十五本）含：重要陶瓷研究及出版著作、大英博物館大維德中國藝術基金會若干收藏、顯赫收藏拍賣圖錄、古董商著作及圖錄等 including art reference books on asian art ceramics, in total 85 publications:Ashmolean Museum, Eastern Ceramics: and other works of art from the collection of Gerald Reitlinger, Oxford: Ashmolean Museum, 1981Battie, David (ed.), Sotheby's Concise Encyclopaedia of Porcelain, London: Conran Octopus Limited, 1994Beurdeley, Cecile, A Connoisseur's Guide to Chinese Ceramics, Office du Livre, 1985Butler, Michael, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, London: Scala Publishers Limited, 2006Carswell, John, Blue & White: Chinese Porcelain Around the World, London: The British Museum, 2000Carswell, John, Chinese Ceramics in the Sadberk Hanim Museum, Istandbul: Sadberk Hanim Museum, 1995Catalogue of a Special Exhibition of Early Ming Period Porcelain, Taipei: National Palace MuseumChina without Dragons: Rare Pieces from the Oriental Ceramics Society Members, Hong Kong: CA Book Publishing, 2020Chinese Ceramics: Selected articles from Orientations 1982-2003, Hong Kong: Orientations Magazine Ltd., 2004Vainker, S.J., Chinese Pottery and Porcelain: From Prehistory to the Present, London: The British Museum, 1991Crick, Monique (ed.), Celadon: Grès des musées de la province du Zhejiang, Chine, Paris: Paris-Musées, 2005Davidson, Gerald, The Handbook of Marks on Chinese Ceramics, London: Han - Shan Books, 1994Eskenazi: Song ceramics 10th to 13th century (catalogue), 2003Fischell, Rosalind, Blue & White China: Origins/Western Influences, Boston: Little Brown & Company, 1987Foundation Amaverunt, Musée Ariana, La porcelaine chinoise de transition et ses influences sur la céramique japonaise, proche-orientale et européenneFrick Collection, Chinese Blue-and-white Porcelain in the Frick Collection, Frick Collection, 1992Fung, Rebecca, Ming Colours: Polychrome Porcelain from Jingdezhen, London: School of Oriental and African Studies, 2006Garner, Harry, Oriental Blue & White, London: Faber and Faber Limited, 1954Gray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Anita, A Catalogue of Oriental Ceramics and Works of ArtGray, Basil, Sung Porcelain & Stoneware, London: Faber and Faber Limited, 1984Hardy, Sheila Yorke, Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1999Harrison-Hall, Jessica, Ming Ceramics in the British Museum, London: The British Museum, 2001Heaven and Earth Seen Within Song Ceramics from the Robert Barron Collection, New Orleans: New Orleans Museum of Art, 2000Ho, Lee Ying, Antique Ceramics: translated by Goh Beng Choo, Singapore: Asiapac Books PTE Ltd., 1996Illustrated Catalogue of Celadon Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1997Illustrated Catalogue of Ming and Ming Style Polychrome Wares in The Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2006Illustrated Catalogue of Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 1989Illustrated Catalogue of Ru, Guan, Jun, Guangdong and Yixing Wares in the Percival David Foundation of Chinese Art, Hardy, Sheila Yorke, London: School of Oriental & African Studies, 1999Jenyns, Soame, Japanese Pottery, London: Faber and Faber Limited, 1971Jenyns, Soame, Ming Pottery and Porcelain, London: Faber and Faber Limited, 1988Kerr, Rose (et al.), The World in Colours: an exhibition of ceramics with coloured decoration dating from 700 to 1920 belonging to members of the Oriental Ceramic Society, London: The Oriental Ceramic Society, 2006Kerr, Rose, Song Dynasty Ceramics, London: V&A Publications, 2004Krahl, Regina, Dawn of the Yellow Earth: Ancient Chinese Ceramics from the Meiyintang Collection, New York: China Institute Gallery, 2000Kuwayama, George, Chinese Ceramics in Colonial Mexico, Los Angeles: Los Angeles County Museum of Art, 1997Li, He, Chinese Ceramics: The New Standard Guide, London: Thames and Hudson, 1996Little, Stephen, Chinese Ceramics of the Transitional Period: 1620-1683, New York: China Institute in America, 1983Littleton & Hennessy, Littleton & Hennessy: Exhibition of Qing Porcelain, London: Littleton & Hennessy, 2005Liu, Liang-yu, A Survey of Chinese Ceramics: Ch'ing Official and Popular Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Ming Official Wares, Taipei: Aries Gemini Publishing Ltd., 1991Liu, Liang-yu, A Survey of Chinese Ceramics: Sung Wares, Taipei: Aries Gemini Publishing Ltd., 1991Lo, Kai-Yin (ed.), Bright as Silver White as Snow: Chinese White Ceramics from Late Tang to Yuan Dynasty, Yung Ming Tang, 1998Macintosh, Duncan, Chinese Blue and White Porcelain: Third Edition, Woodbridge: Antique Collectors' Club Ltd., 1994Medley, Margaret, Illustrated Catalogue of Ming Polychrome Wares, London: School of Oriental & African Studies, 1978Medley, Margaret, Illustrated Catalogue of Ting and Allied Wares, London: School of Oriental & African Studies, 1980Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains in the Percival David Foundation of Chinese Art, London: School of Oriental & African Studies, 2004Medley, Margaret, Illustrated Catalogue of Underglaze Blue and Copper Red Decorated Porcelains, London: School of Oriental & African Studies, 1976Medley, Margaret, Metalwork and Chinese Ceramics, London: School of Oriental & African Studies, 1972Medley, Margaret, The Chinese Potter: A Practical History of Chinese Ceramics, Oxford, Phaidon Press Limited, 1999Medley, Margaret, Yuan Porcelain & Stoneware, London: Faber and Faber Limited, 1974For full list, please see: https://www.lyonandturnbull.com/auction/lot/lot-241---collection-of-art-reference-books/?lot=279991&so=0&st=&sto=0&au=9380&ef=&et=&ic=False&sd=0&pp=96&pn=3&g=1Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years. Note:Please note this lot will be offered with no reserve. 本拍品不設底價

FINE PAIR OF INSCRIBED BLUE AND WHITE TEA TRAYS QING DYNASTY, JIAQING MARK AND OF THE PERIOD 清嘉慶 青花「大清嘉慶年製」六字篆書款 青花開光御製詩海棠式茶托 each with shallow lobed sides of quatrefoil section, supported on four short bracket feet, the interior inscribed with an imperial poem pertaining to the preparation of tea and dated to the dingsi year of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in underglaze blue and surrounded by spur-marks, with fitted wooden stand Dimensions:16.1cm wide each Provenance:Provenance: Private Scottish collection; inherited from the family who worked and travelled extensively in Asia during the 1920s-1940s. Note: Note: The poem on these small dishes, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as: 'Finest tribute tea of the first picking. And a bright full moon prompts a line of verse. A lively fire glows in the bamboo stove, The water is boiling in the stone griddle, Small bubbles rise like ears of fish or crab. Of rare Chi'i-ch'iang tea, rolled into tiny balls, One cup is enough to lighten the heart, And dissipate the early winter chill.' A similar blue and white tray is illustrated by H.A. Van Oort, Chinese Porcelain of the 19th and 20th Centuries, The Netherlands, 1977, p. 19, pl. 2. Closely comparable pairs of dishes of this pattern and date were sold at Christie's London,15 May 2012, lot 395 and Sotheby's Hong Kong, 9 October 2012, lot 3081.

CHINESE EXPORT IMARI 'LA DAME AU PARASOL' PLATE QING DYNASTY, QIANLONG PERIOD 清乾隆 中國外銷伊萬里《持傘美人》盤 with the pattern in Chinese Imari colours, showing a lady standing before water birds as her attendant shades her with the parasol, the honeycomb border interrupted by lady and bird cartouches, the exterior adorned with various insects in underglaze blue glaze Dimensions:23cm diameter Provenance:Provenance: Private collection, Norwich, England Note: Note: According to David Howard's 'The Choice of the Private Trader' (1994), Cornelis Pronk was appointed by the V.O.C. in 1734 to 'make all designs and models to our satisfaction, of all such porcelain as will be ordered from time to time in the Indies'. Pronk's distinctive designs, of which 'La Dame au Parasol' is perhaps the best known, have appeared in the most prestigious collections of export porcelains ever since.

BLUE AND WHITE 'MERMAID' LIDDED TEAPOT QING DYNASTY, KANGXI PERIOD, CIRCA 1710 清康熙 約1710年 青花美人魚圖方壺 of quadrangular ovoid form, attached with a square section handle and straight spout, either side of the body finely painted with a mermaid among reeds with a large fish rising in a pond, the square lid adorned with flower branches and topped with finial Dimensions:19cm wide Provenance:Provenance: Private collection, London Note: Note: The decoration, originated from a European engraving of 1676 by S. Le Clerc, illustrated the story of Dirce - one of Venus's less successful rivals who, as a punishment for rivalling her in beauty, was turned into a mermaid and made to fall in love with a carp.According to David S. Howard's research, "a small number of these teapots are known and the design was clearly specially commissioned - possibly even including the shape of the teapot to accommodate a rectangular engraving." A very similar example is illustrated in his publication The Choice of the Private Trader: Private Market in Chinese Export Porcelain Illustrated from the Hodroff Collection, published by Zwemmer, London, 1994, no. 154, p. 145. Another example in the collection of Groninger Museum, the Netherlands, is illustrated in La Porcelaine des Compagnies des Indes à Décor Occidental, by François et Nicole Hervouët, Flammarison, Paris, 1986, p. 309.The engraving by S. Le Clerc is illustrated in Metamorphoses d'Ovide en Rondeaux, by Isaac de Benserade, L'Imprimerie Royale, Paris, 1676, p.83. (see image 1)

RARE WHITE-GLAZED POTTERY JAR TANG DYNASTY 唐 白釉罐 of tapering ovoid form rising from a flat straight foot, high rounded shoulders and inverted mouth, applied with a creamy white glaze, the glaze stops undulatingly above foot, with a later carved wooden lid Dimensions:26.9cm high Provenance:Provenance: Bluett & Sons, 1984. Illustrated in the Exhibition of Early Chinese Pottery and Porcelain and Iranian Works of Art, London: Messrs Bluett & Sons, 1967, with a copy of the catalogue and an associated label on base.Dr. Kenneth P. Lawley's inventory number: Cer.96. Note: Note: Jar in oviform like this, with high shoulders rounding inwards to surround the mouth is atypical in Tang pottery wares. Most glazed pottery jars of the Tang dynasty are surmounted by a neck and are of more globular shape. The collector also observes, from a production-line point of view, it could readily have been turned into an amphora or a meiping by adding a neck and handles. A related example covered in sancai glaze, slightly smaller, is in the Asian Art Museum, San Francisco, object no. B60P201, and illustrated in He Li, 1996, Chinese Ceramics: A New Comprehensive Survey, New York: Rizzoli International Publications, pl. 161. The author notes on p.122, that two other neckless jars of ovoid shape have been found in Shaanxi and Henan provinces, and are published in Wenwu Ziliao Congkan, 1982:2, pg. 140 and Kaogu yu Wenwu, 1984:1, pl. 7.3, where they are described as 'olive-shaped'.Also compare to two similar jars, glazed in sancai, Tang dynasty, one sold at Christie's New York, 17 Sep 2008, lot 234; the other with a lid, previously in the Robert B. and Beatrice C. Mayer family collection, sold at Christie's New York, 13 Sep 2019, lot 1071.Please note this lot will be offered with no reserve. 本拍品不設底價

CERAMIC REFERENCE BOOK COLLECTION 中國陶瓷藝術參考書籍（共四十四本）含：高古、中古、明清陶瓷研究及出版著作、顯赫館藏等 Including: early pottery, Chinese Ming and Qing dynasty ceramics, museum and private collection, in total 44 publications.Asahi Shimbun Cultural Planning Department (Ed.). Newly Discovered Southern Song Ceramics: A Thirteenth-Century "Time Capsule". Tokyo: Asahi Shimbun Publishing Company, 1998.Ayers, John. The Seligman Collection of Oriental Art: Chinese and Korean Pottery and Porcelain. London: The Arts Council of Great Britain, 1964.Chen, Quanfang. Yaozhou Kiln. Shaanxi: Shaanxi Travel & Tourism Press, 1992.Chinese Ceramics: Leeds Art Gallery and Temple Newsam House. Leeds: Beck & Partridge Ltd, 1966.D'Argence, Rene Yvon Lefebvre. The Hans Popper Collection of Oriental Art. Japan: Kodansha International Ltd, 1973.Duan, Qing Bo. Ancient Chinese Pottery. Wuhan: Hubei Fine Arts Publishing House, 2001.Gerald, Reitlinger. Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger. Oxford: The Ashmolean Museum, 1981.Gompertz, G. St. G. M. Chinese Celadon Wares. London: Faber & Faber, 1958.Houli, Yang, and Fan, Fengmei. Dated Qingbai Wares of the Song and Yuan Dynasties. Hong Kong: Ching Leng Foundation, 1998.Hughes-Stanton, P. and Kerr, Rose. Kiln sites of ancient China: An exhibition lent by the People's Republic of China, 1981.Illustrated Catalogue of Celadon Wares in The Percival David Foundation of Chinese Art. London: School of Oriental and African Studies, 1997Joseph, Adrian Malcolm (Ed.). Chinese Pottery Burial Objects of the Sui and Tang Dynasties. London: Hugh M. Moss Ltd., 1970.Kerr, Rose. Song Dynasty Ceramics (Victoria & Albert Museum - Far Eastern Series). London: V&A Publications, 2004.Kotz, Suzanne (Ed.). Imperial Taste: Chinese Ceramics from the Percival David Foundation. San Francisco: Chronicle Books, 1989.Krahl, Regina. Yuegutang: Eine Berliner Sammlung Chinesischer Keramik / A Collection Of Chinese Ceramics In Berlin. Berlin: G + H Verlag, 2000.Lau, Aileen (Ed.). Spirit of Han: Ceramics for the After-life. Singapore: Sun Tree Publishing, 1991.Laurence, Desmond Roger. Chinese Porcelain: 25 years of unscholarly collecting. London: D.R. Lawrence, 2003.Laurence, S.J.. Chinese Pottery and Porcelain: From Prehistory to the Present. London: British Museum Press, 1991.Li, Hui Bing. Porcelain of the Song Dynasty (vol 1). Shanghai: Shanghai Science and Technology Press, 2002.Li, Hui Bing. Porcelain of the Song Dynasty (vol 2). Shanghai: Shanghai Science and Technology Press, 2002.Lu, Yaw, Feng, Xianming, and Tregar, Mary. Song Ceramics: With an Illustrated Catalogue of the Exhibition Organized by the Southeast Asian Ceramic Society and Held at the National Museum, Singapore in May-June 1983. Singapore: Southeast Asian Ceramic Society, 1983.M.H. de Young Memorial Museum. Avery Brundage Collection: Chinese Ceramics. San Francisco: de Young Museum Society, 1967.McElney, Brian Shane. Museum of East Asian Art: Chinese Ceramics v. 1: Inaugural Exhibition. Bath: Museum of East Asian Art, 1993.Medley, Margaret (Ed.). Decorative Techniques and Styles in Asian Ceramics: Colloquies on Art & Archaeology in Asia No.8. London: School of Oriental and African Studies, 1978.Medley, Margaret. Yuan Porcelain and Stoneware. London: Faber & Faber, 1974.Mino, Yutaka and Tsiang¸ Katherine. Ice and Green Clouds: Traditions of Chinese Celadon. Indianapolis: Indiana University Press, 1986.Mowry, Robert D., Farrell, Eugene, and Rousmaniere, Nicole Coolidge. Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown and Black Glazed Ceramics, 400-1400. Cambridge: Harvard University Art Museums, 1996.Pierson, Stacey (Ed.). Qingbai Ware: Chinese Porcelain of the Song and Yuan Dynasties. London: Percival David Foundation of Chinese Art, 2011.Pierson, Stacey (Ed.). Song Ceramics: Art History, Archaeology and Technology: Colloquies on Art & Archaeology in Asia No. 22. London: Percival David Foundation of Chinese Art, 2004Pierson, Stacey (Ed.). The Museum of East Asian Art Journal. Bath: Museum of East Asian Art, 1995.Pope, John Alexander. Fourteenth-Century Blue and White: A Group of Chinese Porcelains in the Topkapi Sarayi Muzesi, Istanbul. Washington: Freer Gallery of Art Occasional Papers, 1952.Scott, Rosemary E. (Ed.). The Tectus Collection: Tectussamlingen, Centraltryckeriet AB Boras. 1991.Sullivan, Michael. Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow. London: Faber and Faber Limited, 1963.Sydney L. Moss Ltd.. Chinese Monochromes From the P.J. Donnelly Collection. London: Sydney L. Moss Ltd., 1974.The Burrell Collection: Chinese Stonewares and Porcelains. Glasgow: Glasgow Art Gallery, 1950s.The Museum of Oriental Ceramics, Osaka. Song Ceramics. Tokyo: Asahi Shimbun Publishing Company, 1999.The Vancouver Society for Asian Art Presents The Talking Jars. 1971Tregear, Mary. Early Chinese Green Wares: in the collection of the Ashmolean Museum. Oxford: Oriental Art, 1967.Tregear, Mary. Guide to the Chinese Ceramics in the Department of Eastern Art Ashmolean Museum. Walsall: Finaprint Ltd, 1966.Tung, Wu. Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston. Boston: Museum of Fine Arts, 2001.Watson, William. Pre-Tang Ceramics of China: Chinese Pottery from 4000 BC to 600 AD. London: Faber & Faber, 1991.Watson, William. Tang and Liao Ceramics. New York: Rizzoli International Publications Ltd., 1984.Wirgin, Jan. Sung Ceramic Designs. 1970.Wood, Nigel. Chinese Glazes. Philadelphia: University of Pennsylvania Press, 1999. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

WORKS OF ART REFERENCE BOOK COLLECTION 中國藝術參考書籍（共三十六本）含雜項、漆器、掐絲琺瑯、青銅器、家具、文房珍玩、佛教藝術等著作 Including: Chinese works of art, cloisonne enamel, archaic bronze, furniture, Buddhist art, Scholar's pieces etc, in total 36 publications.Including but not limited to:Berliner, Nancy Zeng. Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries. Boston: Museum of Fine Arts, 1996.Brinker, Helmut, and Lutz, Albert. Chinese Cloisonné: The Pierre Uldry Collection. London: Bamboo Publishing, 1989.Chou, Ju-His. Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors. Cleveland: Cleveland Museum of Art Bookstore, 2000.Clifford, Derek. Chinese Carved Lacquer. London: Bamboo Publishing, 1992.Deydier, Christian. Ancient Chinese Bronze Vessels, Gilt Bronzes and Early Ceramics. 1986.Dye, Daniel Sheets. Chinese Lattice Designs. New York: Dover Publications, 1974.Eskenazi. Chinese Lacquer From The Jean-Pierre Dubosc Collection And Others. London: Eskenazi, 1992.Fang, Jing Pei. Treasures Of The Chinese Scholar. New York: Weatherhill Inc., 1997.FitzGerald, C. P. Barbarian Beds: the origin of the chair in China. London: The Cresset Press, 1965.Gyllensvärd, Bo. Chinese Gold, Silver and Porcelain: The Kempe Collection. New York: The Asia Society, 1971.Hu, Shih-Chang. Chinese Lacquer. Edinburgh: National Museums of Scotland Publishing, 2001.Jenyns, Soame, and Watson, William. Chinese Art: Gold, Silver, Later Bronzes, Cloisonne, Cantonese Enamel, Lacquer, Furniture, Wood (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Jenyns, Soame. Chinese Art: Textiles, Glass and Painting on Glass, Carvings in Ivory and Rhinoceros Horn, Carving in Hardstones, Snuff Bottles, Inkcakes and Ink Stones (Chinese Art). Oxford: Phaidon Press Ltd, 1981.Kates, George N. Chinese Household Furniture. New York: Dover Publications, 1962.Kerr, Rose. Later Chinese Bronzes. London: Bamboo Publishing, 1990.Krahl, Regina and Morgan, Brian. From Innovation to Conformity: Chinese Lacquer from the 13th to 16th Centuries. London: Bluett & Sons, 1989.Moss, Paul. Educated Palates: an exhibition at 63 East 82nd Street New York. London: Sydney L. Moss Ltd., 1987.Moss, Paul. The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects. Hong Kong: Andamans East International Ltd., 1986.Moss, Paul. The Second Bronze Age: Later Chinese Metalwork. London: Sydney L. Moss Ltd., 1991.Mowry, Robert D., and Brown, Claudia. Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars' Rocks. Cambridge: Harvard University Art Museums, 1997.Page, J. and Page, S. The Woven Mystery: Old Tibetan Rugs. Bangkok: Craftsman Press, 1990.Pratapaditya, Pal et al. Art of the Himalayas: Treasures from Nepal and Tibet. New York: Hudson Hills, 1992.Rawson, Jessica (Ed.). Treasures from Shanghai: ancient Chinese bronzes and jades. London: British Museum Press, 2009.Rawson, Jessica. Chinese Bronzes: Art and Ritual. London: British Museum Press, 1987.Rawson, Jessica. The Ornament on Chinese Silver of the T'ang Dynasty, A.D.618-906. London: British Museum Press, 1982.Sir Garner, Harry. Chinese and Japanese Cloisonné Enamels. London: Faber & Faber, 1970.Spink. Lacquer From The Collection of Derek Clifford. London: Spink, 1999.The British Museum. Chinese and Associated Lacquer from the Garner Collection. London: British Museum, 1973.The furniture of the Ch'ing dynasty: the art pieces with utility purposes. Taipei: Chun Kuei-miao, 1989.Thurman, Robert A. F., and Weldon, David. Sacred Symbols: The Ritual Art of Tibet. New York: Sotheby's, 1999.Vainker, Shelagh. Chinese Silk: A Cultural History. London: British Museum Press, 2004.Watt, James C. Y. and Barbara Brennan Ford. East Asian Lacquer: The Florence and Herbert Irving Collection. New York: Metropolitan Museum of Art, 1991.Watt, James C. Y. and Knight, Michael. Chinese Jades from the Collection of the Seattle Art Museum. Seattle: Seattle Art Museum, 1989.Watt, James C. Y.. The Sumptuous Basket: Chinese Lacquer with Basketry Panels. New York: China House Gallery, 1985.河北省文物硏究所，《歷代銅鏡紋飾》，河北：河北美術出版社，1996.Li, Jiufang. Metal-bodied Enamel Ware (金屬胎琺瑯器). Hong Kong: The Commercial Press, 2001. Note: Please note this lot will be offered with no reserve. 本拍品不設底價

RARE IRON-PAINTED 'CHRYSANTHEMUM AND BAMBOO' HANDLED MOONFLASK JOSEON DYNASTY, 18TH-19TH CENTURY 朝鮮王朝 白磁鐵畵菊竹紋雙耳扁瓶 of flattened globular form set on a high spreading oval foot with a cylindrical neck and everted lip, decorated on one side with bamboo and the reverse with chrysanthemum, two loop-handles flanked the shoulders, two sides of the foot with perforations Dimensions:17.5cm high Provenance:Provenance: Christie's, 1981 (according to collector's inventory).Dr. Kenneth P. Lawley's inventory number: Cer.88. Note: Note: The Korean potters started experimenting with iron brown or black painting as early as the 12th century influenced by the Chinese Cizhou ware. At the beginning of the Joseon period, painting with iron pigment was the distinguishing feature of pottery produced at the Keryong-san kilns. By the end of the 16th century to the end of the dynasty, local potteries across the country have produced white or grey porcelains and stonewares decorated with underglaze iron painting. Some of the finest brushwork is seen on jars and wine flasks decorated with sprays of bamboo, a favourited subject with scholar-artists and aristocrats in the mid-Joseon period, 16th-17th century. Observes G. St. G. M. Gompertz, 1968, Korean Pottery & Porcelain of the Yi Period, London: Faber and Faber, pp. 48-50.Compare to a finer wine flask with underglaze iron painting of bamboo, 17th century, without the loop handles, illustrated ibid. pl. 62, and a wine flask similarly decorated but flanked with two squirrel-form handles, illustrated ibid. pl. 71A, subsequently sold at Bonhams London, 7 Nov 2013, lot 26. Including this lot, these three moonflasks are decorated with bold sweep of brushwork and rich brown, almost black, of iron pigment producing an effect that evokes admiration.Several other related comparable examples with nuances of form and detail, all dated to the Joseon Dynasty, are in museum collections. Including the National Museum of Korea, collection no. 동원 248; The Cleveland Museum of Art, accession no. 1999.44; Harvard Art Museums, museum no. 2002.267. Further compare to one with similar cord runners, was sold at Bonhams New York, 24 Sep 2020, lot 1047.Please note this lot will be offered with no reserve. 本拍品不設底價

A PAIR OF BLUE AND WHITE 'LOTUS' SAUCER-DISHESGuangxu six-character marks and of the periodEach painted in the centre with a medallion enclosing three lotus flower heads borne on leafy vines, the well decorated with a border of lotus beneath a slightly everted rim, the exterior with a further lotus scroll band, the base bearing a six-character mark in underglaze blue. Each, 15.7cm (6 1/4in) diam. (2).Footnotes:清光緒 青花纏枝蓮花紋盤一對青花「大清光緒年制」楷書款Provenance: a European private collection來源：歐洲私人收藏See a very similar blue and white dish with lotus design, Guangxu mark and of the period, illustrated by Xu Huping, in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.463. Compare also with a similar pair of blue and white 'lotus' dishes, Guangxu six-character marks and of the period, which was sold at Bonhams London, 10 May 2021, lot 9.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

A RARE FAMILLE ROSE PINK-GROUND SGRAFFIATO 'MEDALLION' BOWLDaoguang seal mark and of the periodExquisitely potted with deep rounded sides rising to a slightly everted rim, the exterior decorated with four roundels enclosing various flowers, trees, and rockwork, divided by stylised lotus sprays, all reserved on a pastel-pink sgraffiato ground, the interior painted in underglaze blue with a central medallion enclosing a rabbit in a landscape, surrounded by four detached flower sprays around the cavetto. 14.8cm (5 7/8in) diam.Footnotes:清道光 粉地軋道粉彩開光花卉圖盌青花「大清道光年製」篆書款Provenance: an Irish private collection and thence by descent來源：愛爾蘭私人收藏，並由後人保存迄今A very similar famille rose pink-ground bowl, Daoguang seal mark and period, is illustrated in Encompassing Precious Beauty: The Songzhutang Collection of Imperial Chinese Ceramics, Hong Kong, 2016, pp.214-215, no.83. One of a pair of very similar pink-ground medallion bowls, Daoguang seal mark and period, is also illustrated in Imperial Porcelain of the Late Qing from the Kwan Collection, Hong Kong, 1983, no.37.Compare with a similar pair of pink-ground famille rose 'medallion' bowls, Daoguang seal marks and of the period, which were sold at Christie's Hong Kong, 3 December 2021, lot 2923. Another very similar bowl was also sold at Sotheby's New York, 20 March 2019, lot 772. See also a similar bowl, which was sold at Bonhams, London, 15 May 2014, lot 90.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

A RARE FAMILLE ROSE PINK-GROUND SGRAFFIATO 'MEDALLION' BOWLDaoguang seal mark and of the periodExquisitely potted with deep rounded sides rising to a slightly everted rim, the exterior decorated with four roundels enclosing various flowers, trees, and rockwork, divided by stylised lotus sprays, all reserved on a pastel-pink sgraffiato ground, the interior painted in underglaze blue with a central medallion enclosing a rabbit in a landscape, surrounded by four detached flower sprays around the cavetto. 14.8cm (5 7/8in) diam. Footnotes:清道光 粉彩軋道粉地開光花卉圖盌青花「大清道光年製」篆書款Provenance: an Irish private collection, and thence by descent來源：愛爾蘭私人收藏，並由後人保存迄今Notable for the exquisite enamelling with flower medallions on an ornately decorated pink ground, this bowl is based on elaborate designs pioneered by eighteenth century artists working during the Qianlong period. The sophistication of the present bowl was achieved through the combination of underglaze blue decoration on the interior, which was applied in Jingdezhen, the intricate sgraffiato ground and finally the fusion of Western painting techniques with traditional Chinese motifs. The flowers and leaves adorning the pink ground, masterfully rendered in various tones and hues to create a three-dimensional effect, recall the techniques introduced in China by the Jesuit painters during the eighteenth century. This complicated and laborious technique, known as jinshang tianhua ('adding decorative pattern onto brocades'), involved needle-point etching the design onto a monochrome enamel ground.A very similar famille rose pink-ground bowl, Daoguang seal mark and period, is illustrated in Encompassing Precious Beauty: The Songzhutang Collection of Imperial Chinese Ceramics, Hong Kong, 2016, pp.214-215, no.83. One of a pair of very similar pink-ground medallion bowls, Daoguang seal mark and period, is also illustrated in Imperial Porcelain of the Late Qing from the Kwan Collection, Hong Kong, 1983, no.37.Compare with a similar pair of pink-ground famille rose 'medallion' bowls, Daoguang seal marks and of the period, which were sold at Christie's Hong Kong, 3 December 2021, lot 2923. Another very similar bowl was also sold at Sotheby's New York, 20 March 2019, lot 772. See also a similar bowl, which was sold at Bonhams, London, 15 May 2014, lot 90.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

A RARE PAIR OF FAMILLE VERTE 'POETIC INSCRIPTION' SAUCER-DISHESKangxiOne dish decorated with a scholar clasping a guqin engaged in conversation with another scholar seated beside a rocky ledge, all beneath various gnarled trees, a poetic couplet flanked by a gilt leaf and seal, the other dish decorated with a scholar gazing out from a large pavilion beside a lake, also with poetic inscription between a gilt leaf and seal. Each 15.8cm (6 1/4in) diam. (2).Footnotes:清康熙 青花五彩山水人物圖詩文盤一對Provenance: Mrs Joan C.P. Barrow (d.1987)Bluett and Sons Ltd., LondonA European private collection, acquired from the above circa 1988-1989, and thence by descentPublished and Illustrated: M.Medley, 'Patterns of Chinese Taste in Porcelain', Transactions of the Oriental Ceramic Society, vol.52, 1987-1988, p.79, colour plate C (upper; showing one of the pair). 來源：Joan C.P. Barrow 夫人（1987年去世）倫敦古董商 Bluett and Sons Ltd.歐洲私人收藏，約1988-1989年從上處購得，並由後人保存迄今著錄：M.Medley，《中國品味的陶瓷圖案》，《東方陶瓷學會會刊》，第52期，1987-1988年，第79頁，圖版C （上部；該拍品中的一個）Joan Barrow was a client of Bluett's, London and an active collector from the late 1960s to the mid 1980s; for more information see R.Davids and D.Jellinek, Provenance, Oxford, 2011, p.62.One dish with the scholar in the pavilion is inscribed with the last two lines of the poem 'I Show These Two Odes to My Younger Brother Returning to Lantian to Greet His New Wife' by Tang dynasty poet Du Fu (712-770): 此時同一醉應在仲宣樓卉庵Which may be translated as:At this moment similarly intoxicated,One should be in the Zhong Xuan pavilion.Hui'anThe inscription on the other dish is also from a poem 'To Release the Boat' by Du Fu reading:江流大自在坐穩興悠哉Which may be translated as:Carefree by the flowing riverSitting down and enjoying oneself!The poems are preceded with a leaf-shaped seal and ended by a seal of whose characters are illegible. This format was created by artisans in the 17th century to cater to literati tastes. The combination of Tang poetry, scenes of idle scholars and distinctive seals make this pair of dishes ideal scholarly-themed wares. The signature Hui'an often appears on porcelains of the Kangxi period. Compare with a related famille verte plate, Kangxi, with similar Hui'an signature, illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Shanghai, 1998, no.107. See also a pair of famille verte dishes with the same signature Hui'an in the collection of The British Museum, London, (acc.no.1947,0712.301.a-b).A similar but larger famille verte dish with the same Hui'an signature, Kangxi period, was sold at Christie's New York, 25 September 2020, lot 1580.For further information on this lot please visit Bonhams.com

A RARE AND LARGE MING-STYLE BLUE AND WHITE RESERVE-DECORATED 'DRAGON' VASE, MEIPING18th century The vase well-potted with with a tapered body rising to a broad shoulder, finely incised with a sinuous five-clawed dragon in pursuit of a flaming pearl amidst ruyi clouds and above turbulent waves crashing against rocky boulders, all reserved on an vibrant cobalt-blue ground imitating the Ming-style 'heaping and piling' effect, the base unglazed.36.7cm (14 3/8in) high.Footnotes:十八世紀 青花藍地白花海水雲龍紋梅瓶Provenance: a British private collection來源：英國私人收藏Well-potted with a powerful writhing dragon pursuing the flaming pearl above cruciform clouds, the present vase is based on prototypes produced during the 15th century and exemplifies how potters during the 18th century revisited highly-regarded designs to suit contemporary taste. The unusual technique of using raised, slip-decorated designs reserved in white against a dark blue ground, was developed in the Yuan dynasty; see for example a Yuan dynasty cover and an ink palette The excavated porcelain from the official kilns in Jingdezhen of the Yuan and Ming dynasties, Beijing, 1999, pp.70-71.Although no early Ming counterpart of identical design seems to be preserved, a vase with a very similar bold dragon was recovered from the Yongle stratum of the waste heaps of the Ming Imperial kilns, illustrated in Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Taipei, 1996, no.66, fig.3. See also another meiping decorated with an incised white dragon striding above blue waves, Yongle, illustrated in Chinese Porcelain Collections in the Near East: Topkapi and Ardebil, vol.3, Hong Kong, 1981, pl.A65.Compare with a very similar blue and white reserve decorated 'dragon' meiping vase, 18th century, in the Museum of Fine Arts, Boston, (acc.no.07.31). Another similar meiping vase decorated with a dragon above waves and amidst clouds, 18th century, in the Asian Art Museum of San Francisco, published by R.L.d'Argencé, Chinese Ceramics in the Avery Brundage Collection, p.114, no.LIIC, where it is dated Ming dynasty, 16th century but later dated as Yongzheng by He Li, Chinese Ceramics A New Comprehensive Survey, San Francisco, 1996, pp.290-291, no.592; see another similar vase decorated with a dragon above waves, Yongzheng, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglaze Red, vol.3, Hong Kong, 2000, pl.76.Compare with two similar blue and white meiping vases, 18th century, which were sold at Christie's New York, 22 March 2018, lot 604, and Christie's Hong Kong, 28 May 2021, lot 2946.For further information on this lot please visit Bonhams.com

A RARE YELLOW-GLAZED RITUAL VESSEL, XINGFirst half 19th centuryThe bulbous body raised on three ruyi shaped feet, elaborately decorated with three bands of geometric and tendril diaper patterns beneath the rim, flanked by two handles issuing from dragon heads, covered overall with a egg-yolk glaze except the unglazed tips of the feet and a circle at the base. 24cm (9 1/2in) wide.Footnotes:十九世紀前半期 黃釉铏Provenance: a Swiss private collection, and thence by descent來源：瑞士私人收藏，並由後人保存迄今The shape and decoration on the present vessel derive from archaic bronze vessels made during the Shang and Zhou dynasties. The Qing Imperial kilns often drew inspirations from various bronze wares, which is seen in the renowned Superintendent of the Imperial kilns Tang Ying's (1682-1756) words: 'Imitate the ancient style and inherit the elegance of it, innovate new style and examine its source'. See Xu Huping, The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.33. Vessels of the type containing offerings of a thick meat soup, were displayed close to the spirit tablet on offering tables at the Altars to Earth, Land, Agriculture and Sericulture in the Qing dynasty. See two very similar yellow glazed Xing vessels, Tongzhi mark and of the period, which are illustrated by L.Clark, For Blessings and Guidance: the Qianlong Emperor's Design for State Sacrificial Vessels, Hong Kong, 2019, p.171.Compare with a related yellow-glazed tripod censer, ding, which was sold at Bonhams London, on 14 May 2009, lot 50.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

A PEACHBLOOM-GLAZED SEAL-PASTE BOX AND COVER, YINSE HEKangxi six-character mark and of the periodOf compressed circular form set over a tapered foot, the exterior finely covered in a crushed raspberry-red glaze, some areas mottled with fine black flecks, the interior and base glazed white, the latter with a six-character mark in underglaze blue. 6.7cm (2 5/8in) diam. (2).Footnotes:清康熙 豇豆紅釉印盒帶蓋青花「大清康熙年製」楷書款Provenance: Yamanaka & Co.Inc, New YorkParke-Bernet Galleries. Inc, 24-27 May 1944, lot 299Hans (1888-1966) and Ludmilla Arnhold (1894-1976) acquired from the above (according to the collector's index card)A European private collection來源：紐約山中商會Parke-Bernet Galleries. Inc，1944年5月24-27日，拍品編號299Hans (1888-1966)和Ludmilla Arnhold (1894-1976)伉儷獲得於上處（據藏家索引卡片）歐洲私人收藏Peachbloom-glazed vessels rank amongst the most highly-regarded of Kangxi porcelains. Known as 'vermilion box' (yinse he), the present box is one of eight forms of vessels coated in peachbloom glaze, which were made for the scholar's desk. The glaze also referred to as 'apple red,' 'bean red', or 'drunken beauty,' required the utmost technical precision. To achieve such a glaze, a copper-lime pigment was blown through a bamboo tube onto a layer of clear glaze; then the surface was covered with another layer of clear glaze: this resulted in the variegated pink and occasional green tones, depending on the firing conditions. Compare with three similar peachbloom seal paste boxes, Kangxi marks and period: the first in The Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, fig.237; the second, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum, Hong Kong, 1989, pl.124; and the third, in The Palace Museum, Taipei, illustrated in K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Ware from the Ch'ing Dynasty, Taipei, 1986, no.11. A similar peachbloom box and cover, Kangxi mark and period, was sold at Christie's New York, 15 September 2016, lot 917.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

A VERY RARE GREEN-ENAMELLED BLUE-GROUND 'DRAGON' BOWLKangxi six-character mark and of the periodThe exterior all reserved on a solid blue ground with two striding five-clawed dragons pursuing flaming pearls above a double band of overlapping petals, the dragons, pearls and cloud coils all washed in a translucent pale green glaze, with the very unusual added detail that in each case the fifth claw on the dragon's foot has been over-enamelled in black, the centre of the interior with a single coiling dragon and the same black enamel concealment of the fifth claw. 14cm (5 1/2in) diam.Footnotes:清康熙 藍地綠彩雲龍紋碗青花「大清康熙年製」楷書款Provenance: Christie's Hong Kong, October 28, 2002, lot 739A European private collection來源：香港佳士得，2002年10月28日，拍品編號739歐洲私人收藏Bowls decorated with green dragons on a blue ground are extremely rare. Even more uncommon is the fact that the fifth claw of the dragons are all covered in black enamels, a feature shared by several porcelain vessels of the Kangxi period. See a 'dragon' dish painted with green enamel on an underglaze-blue ground, in the Baur Collection, Geneva, illustrated by J.Ayers, Chinese Ceramics in the Baur Collection, vol.2, Geneva, 1999, pp.36-37. Another similar bowl with the same detail is illustrated by Lu Minghua, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, p.300, no.194.A similar green-enamelled blue-ground bowl, Kangxi mark and period, was sold at Sotheby's New York, 23 September 2020, lot 560.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

A VERY RARE FAMILLE VERTE MODEL OF FOREIGNERS ABOARD A SHIPKangxiBrightly glazed in red, green, aubergine and straw all over the visible areas, elaborately modelled as a junk with an aggressive fish-shaped prow, two folding Lateen masts and a flag flying from a third, a compartment with pierced windows at the stern, both sides with the muzzles of six cannons, the desk filled with four European figures wearing frock coats and wide rimmed black hats, one manning the tiller, two others standing and a fourth figure seated cross-legged. 29cm (11 1/2in) wide.Footnotes:清康熙 素三彩瓷塑帆船Provenance: an American private collection Ralph M. Chait Galleries, New York, 10 May 2016A European private collection來源：美國私人收藏Ralph M. Chait Galleries，紐約，2016年5月10日歐洲私人收藏Exceptionally detailed models of Chinese ships in enamels on biscuit are rare, and more so when including representations of Europeans and details such as cannons and partially folded sails as superbly detailed on the present lot. This model of a junk is described in a 1779 inventory on Chinese porcelain in the collection of Augustus the Strong in Dresden; see a related three-glazed model of a junk, Kangxi, illustrated by E.Ströber, Maladie de Porcelaine. East Asian Porcelain in the Collection of Augustus the Strong, Berlin, 2002, p.57.The depiction of foreigners on a boat reflects not only a growing fascination in 18th century China towards the West but the Kangxi Emperor's policy of open trade from 1684, after his consolidation of power against pirates and Ming loyalists along the coast. In dealing with the issue of overseas trade (which previous Chinese governments sometimes banned), the Kangxi Emperor supported the pursuit of profit and like many European monarchs of the day, he believed that trade — including overseas trade — benefited both state and society. On the basis of this view, in 1684, the Kangxi Emperor invited foreign merchants to bring their goods to China's ports and encouraged Chinese merchants to set out from those ports for destinations in foreign lands. More important, over the subsequent thirty years, he persisted in this open-door policy, blocking every attempt to reinstate the maritime trade ban. This re-opening of trade with the West in the Kangxi reign led to interest in foreigners: their clothes, customs and belongings, and is reflected in a number of the arts of the period. Scrolls depicting tribute bearers from foreign lands were commissioned by the Court, in which figures from various countries were shown in their different costumes. On one such hand-scroll in the collection of the Palace Museum, Beijing, many of the figures are described as being from the West and the attributes of each couple are discussed in both Chinese and Manchu; see Splendors of a Flourishing Age, Macau, 1999, no.42. See a similar famille verte model of a ship with Dutchmen, Kangxi, illustrated by A.du Boulay, Christie's Pictorial History of Chinese Ceramics, Oxford, 1984, p.289, no.10 (which sold at Christie's London, 13 July 1959). Foreigners can also be seen in blanc de-Chine wares; see for example P.J.Donnelly, Blanc de Chine, London, 1969, pl.117, and a blanc-de-Chine boat with foreigners, in ibid, pl.118. See also a similar famille verte boat, but without figures, Kangxi, illustrated by W.R.Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1991, pp.76-77, no.29.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

A PAIR OF FINE LAVENDER-GLAZED BOWLSYongzheng six-character marks and of the periodEach superbly potted with deep rounded sides rising from a straight foot to a slightly flared rim, the exteriors applied with a lavender-blue glaze, the interior and base left white, the bases inscribed with the six-character reign marks within a double-circle. 11.8cm (4 7/8in) diam. (2).Footnotes:清雍正 天藍釉碗一對 青花「大清雍正年製」楷書款Provenance: a European private collection來源：歐洲私人收藏Exuding understated elegance through the elegant forms and the translucency of the 'moonlight' glaze, the present bowls are a superb example of wares produced during the reign of the Yongzheng Emperor. The glaze appears to have been inspired by the celebrated Ru wares of the Northern Song dynasty, had a cobalt content of about 1% and was first produced by the Imperial kilns in Jingdezhen during the latter years of the Kangxi Emperor's reign. The resulting colour was known in the West by the 19th-century French connoisseurs' term clair-de-lune (literally translating as 'moon light'), and in China as tianlan meaning 'sky blue'), and sometimes it varied to a slightly darker tone referred to as 'lavender'.Compare with a similar pair of lavender-glazed bowls, Yongzheng marks and period, illustrated in Rare and Beautiful Oriental Art Treasures of Supreme Quality, New York, 1915, no.29. Three further pairs of 'lavender-glazed' bowls, Yongzheng marks and period, are illustrated respectively in Chinese Porcelain in the S.C. Ko Tianminlou Collection, Hong Kong, 1987, no.148 and A Millennium of Monochromes, from the Great Tang to the High Qing, Geneva, 2018, nos. 87a-b. Compare with a similar pair of lavender-glazed bowls, Yonghzeng marks and of the period, which were sold at Sotheby's New York, 21 March 2023, lot 10. Another similar lavender-glazed bowl, Yongzheng mark and period, was sold at Christie's New York, 12 September 2019, lot 745.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

A VERY RARE CLAIR-DE-LUNE-GLAZED BRUSHWASHER, TANGLUOXIKangxi six-character mark and of the periodThinly potted with steeply incurving wide aperture at the top, the interior and visible exterior all under a very even limpid pale lavender-blue glaze, reserved white within the short incurving foot with the mark. 11.5cm (4 1/2in) wide.Footnotes:清康熙 天藍釉筆洗青花「大清康熙年製」楷書款Provenance: Ralph M. Chait Galleries, New YorkA European private collection來源：Ralph M. Chait Galleries，紐約歐洲私人收藏Notable for its elegant form and subtle glaze colour, the present vessel is a remarkable testament to the technical advances made at the Imperial kilns in Jingdezhen at the beginning of the Qing dynasty, which saw the creation of numerous monochrome glazes. The sky-blue glaze, referred to as tianlan, was achieved by diminishing the amount of cobalt oxide in the glaze mix. Vessels covered in this delicate glaze are often very finely potted, an indication that they were probably made during the later phases of the Kangxi reign; see S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p.241.Brushwashers were an essential part of the scholar's accoutrements as they enabled their owners to elegantly express their visions through ink. Throughout the Qing dynasty, small porcelain objects designed for the scholar's table were produced in two new glazes, referred to as peachbloom and clair-de-lune, fewer brush washers coated in clair-de-lune glaze appear to have been produced, compared to peachbloom-glazed examples. Compare with two similar clair-de-lune brushwashers, Kangxi marks and of the period; the first illustrated by J.Ayers, Chinese ceramics in the Baur Collecion, Geneva, 1999, p.57; and the second in The Metropolitan Museum of Art, New York, acc.no.64.279.2. A further clair-de-lune brushwasher, Kangxi mark and of the period, is illustrated in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, pl.218.A similar clair-de-lune brushwasher, Kangxi mark and of the period, was sold at Sotheby's New York, 13 September 2017, lot 7.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

A PAIR OF FAMILLE VERTE 'FLORAL' DISHESKangxiEach boldly enamelled at the centre with an elaborate basket containing a myriad of blossoms and flower heads, the border reserved with floral panels on a green-seeded band, the reverse with an artemisia leaf within a double circle, marked Ni99I. 22cm (8 1/2in) diam. (2).Footnotes:清康熙 五彩錦地開光花籃圖盤Provenance: Augustus the Strong (1670-1733), Elector of Saxony and King of Poland (with Dresden inventory marks on the underfoot of each reading N 99 and I)Ralph M. Chait Galleries, New York, 2 November 2006A European private collection來源：奧古斯特二世(1670-1733)，薩克森選帝侯和波蘭國王 （盤子底部刻有有德累斯頓庫存編號N 99 和 I）Ralph M. Chait Galleries，紐約，2006年11月2日歐洲私人收藏Augustus the Strong (1670-1733) Elector of Saxony and King of Poland, was an avid art collector. King Augustus amassed an extensive collection of Chinese porcelain which was housed in the 'Japanese Palace' in Dresden. See E.Strober, La maladie de porcelaine: East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, p.10.Compare with a related pair of famille verte dishes, Kangxi, which were sold at Christie's New York, 18 January 2018, lot 67.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

A LARGE FAMILLE VERTE SEATED FIGURE OF GUANYINKangxi Well potted and brightly enamelled on the biscuit in green, pale turquoise, aubergine and black on a primrose-yellow ground, the deity impassively seated with her hands on her knees and a small child in her lap, all on a separate six-sided oval base with a pierced fence around the upper edge. 42cm (16 1/2in) high. (2).Footnotes:清康熙 素三彩觀音坐像Provenance: Ralph M. Chait Galleries, New York, 19 November 1999A European private collection來源：Ralph M. Chait Galleries，紐約，1999年11月19日歐洲私人收藏A very similar famille verte model of Guanyin, Kangxi, in the Museé Guimet, Paris, is illustrated by S.Castelluccio, Collecting Chinese and Japanese Porcelain in Pre-Revolutionary Paris, Los Angeles, 2013, p.111, fig.94. See also a related famille verte figure of Guanyin but without stand, Kangxi, in the Victoria and Albert Museum, London, (acc.no.C.1275&A-1910). Compare also with a similar famille verte biscuit model of Guanyin, Kangxi, which was sold at Bonhams London, 23 September 2015, lot 137. Another similar famille verte figure of Guanyin, Kangxi, was sold at Christie's New York, 26 January 2015, lot 67. See also a similar famille verte biscuit figure of Guanyin, Kangxi, also with provenance from Chait Galleries, was sold at Sotheby's New York, 15 March 2017, lot 684.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

A FINE AND RARE PAIR OF AUBERGINE-GLAZED BOWLSKangxi six-character marks and of the periodEach entirely covered inside and out with a rich dark even glossy glaze of deep purple tone except reserved in the white within the foot. 12.2cm (4 3/4in) diam. (2).Footnotes:清康熙 茄皮紫釉碗一對青花「大清康熙年製」楷書款Provenance: an American private Collection Vermeer (1947-2015) and Griggs (1939-1995), Los AngelesJ. J. Lally & Co., New YorkRalph M. Chait Galleries, New York, 5 May 2017A European private collection來源：美國私人收藏Vermeer (1947-2015) & Griggs (1939-1995)，洛杉磯紐約古董商J. J. Lally & Co.Ralph M. Chait Galleries，紐約，2017年5月5日歐洲私人收藏Notable for their glossy deep-purple glaze, the present bowls are elegant examples of monochrome porcelain wares produced during the reign of the Kangxi Emperor. Aubergine glazes were created at Jingdezhen during the Hongzhi reign of the Ming dynasty, however, it was only at a later date that the glaze achieved a more lustrous and brilliant colour, with flashes of blue in the purple. By the Qing dynasty, aubergine glazes were made from black lead powder with stone blue and stone powder.Compare with a pair of similar aubergine-glazed bowls, Kangxi marks and of the period, illustrated in The Splendour of the Qing Dynasty, Hong Kong, 1992, p.355, no.222; a further pair in The Tsui Museum of Art is illustrated in Chinese Ceramics, IV Qing Dynasty, Hong Kong, 1995, no.16 (one). See also a very similar aubergine-glazed bowl, Kangxi mark and of the period, illustrated in A Millennium of Monochromes from the Great Tang to the High Qing: The Baur and Zhuyuetang Collections, Geneva, 2019, p.250, no.106.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

A RARE PAIR OF CELADON-GLAZED LOBED GARLIC-NECKED VASES18th century The pear-shaped flattened bodies each vertically grooved to create shallow lobes, the waisted necks each set with two stylised animal handles beneath crisply carved garlic-bulb rims, the very pale glaze firing to a darker tone in the vertical grooves. 20cm (8in) high. (2).Footnotes:十八世紀 青釉瓜棱式蒜頭獸耳瓶一對Provenance: Ralph M. Chait Galleries, New York, 2 November 2006A European private collection來源：Ralph M. Chait Galleries，紐約，2006年11月2日歐洲私人收藏The shape of the present vases recalls a Han dynasty bronze flask, but with the innovative feature of vertical ribs simulating textile pleats. The luminous bluish-green glaze reflects the Qing dynasty's admiration for the celebrated Song dynasty green-glazed wares and the technical developments achieved at the kilns to meet the specific taste of the time.Several varieties of celadon glazes were experimented with at the time, ranging from delicate, almost watery celadon colours to slightly bluish-green colours, which were employed to contemporary wares inspired by earlier shapes. Compare with a related green-glazed lazurite vase, Yongzheng mark and of the period, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl.130. See also a related but much larger celadon-glazed vase decorated with vertical pleats, Yongzheng mark and of the period, illustrated by J.Ayers, Chinese Ceramics in the Baur Collection, vol.2, Geneva, 1999, pl.279.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

A RARE GREEN-ENAMELLED INCISED 'DRAGON' SAUCER DISHKangxi six-character mark and of the periodBoldly enamelled at the centre in translucent pale green enriched with black scales as a coiling five-clawed dragon in profile grasping at a flaming pearl amongst fire trails, the reverse with two similar dragons in mutual pursuit of flaming pearls on a ground lightly incised all over with breaking domed waves. 17.5cm (6 7/8in) diam.Footnotes:清康熙 白地綠彩趕珠龍紋盤青花「大清康熙年制」楷書款Provenance: a European private collection來源：歐洲私人收藏See a similar green-enamelled 'dragon' dish, Kangxi six-character mark and of the period, illustrated by J.Ayers, Chinese Ceramics: The Koger Collection, London, 1985, p.144, no.116. Compare also with a related green-enamelled 'dragon' dish, Kangxi mark and period, in the collection of the Princessehof Museum, Leeuwarden, illustrated by B.Harrison, Keramik uit Azie, Leeuwarden, 1985, pl.126; see also a related 'green dragon' dish, Kangxi mark and period, in the collection of the Palace Museum, Taipei, with dragon outlined and details in black rather than blue, illustrated in Porcelain of the National Palace Museum: Enamelled Ware of the Ch'ing Dynasty, Hong Kong, 1969, vol.1, pls.9 and 9a-c.A similar green-enamelled 'dragon' dish, Kangxi mark and period, was sold at Sotheby's Hong Kong, 5 April 2016, lot 52.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

A DOUCAI 'DEER' DISHChenghua six-character mark, KangxiThe interior attractively painted in dark blue and enamelled in green, iron-red, yellow and aubergine with an auspicious deer standing on a bamboo terrace, a clump of lingzhi at the right side and a smaller right fungus in its mouth, within a wide border of four long blossoms and rockwork clusters. 31cm (12 1/4in) diam.Footnotes:清康熙 鬥彩瑞鹿紋盤青花「大明成化年製」楷書款Provenance: Kenneth R. Malcolm (1908-1984), London Alistair Sampson Antiques, London, 15 June 1997A European private collection來源：Kenneth R. Malcolm (1908-1984)，倫敦倫敦古董商Alistair Sampson Antiques，1997年6月15日歐洲私人收藏Deer have long been a symbol of longevity, wealth, and grace in traditional Chinese culture, since the character for deer lu (鹿) is a homophone for emoluments lu (祿). Deer are also frequently depicted beside Shoulao, the God of Longevity, and have thus come to represent longevity too.Compare with a related doucai-decorated dish, Kangxi, displaying a similar design as the present example but with an apocryphal Xuande mark, in the Shanghai Museum, illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pp.262-263, no.170.See also a related doucai stag and pine saucer dish, Yongzheng six-character mark and period, which was sold at Bonhams London, 12 May 2016, lot 91.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

A VERY RARE PALE-GREEN-GLAZED CARVED 'BEEHIVE' WATERPOT, TAIBO ZUNKangxi six-character mark and of the periodThe tall incurving exterior very delicately engraved to leave in slight relief irregular groups of cloud clusters and vapour trails, under a limpid pale translucent glaze firing to a darker tone in the deeper edges of the cloud designs, wood stand. 7.5cm (2 7/8 in) high (2).Footnotes:清康熙 青釉雲紋馬蹄尊青花「大清康熙年製」楷書款Provenance: a European private collection來源：歐洲私人收藏Deceptively understated in design and form, the present waterpot highlights the technical advances made in the Kangxi reign by combining tradition with innovation. The graceful designs of vaporous clouds that appear to billow out from under the elegant celadon glaze display the Kangxi Emperor's admiration for much-celebrated porcelain traditions of the past. In particular, the fine celadon glazes produced at the Longquan kilns during the Song dynasty would have served as sources of inspiration for the present waterpot.The billowing clouds underscore a highly auspicious symbolism related to the emperor's wish for longevity. The word cloud yun (雲) is a homophone for good fortune fuyun (福運), good fortune. In an agricultural society, the rain-bearing clouds would have been perceived as a benevolent omen, for the necessary irrigation of the crops.Compare with two closely related celadon-glazed waterpots, Kangxi marks and period, respectively in the Palace Museum, Beijing, illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.147, pl.130, and in the Palace Museum, Taipei, illustrated in Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum. K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl.58; two further celadon-glazed waterpots, Kangxi marks and period, are in the Victoria and Albert Museum, London, illustrated by W.B.Honey, Later Chinese Porcelain, London, 1927, pl.7a, from the Gulland Bequest; and in The British Museum, London, illustrated by M.Medley, Illustrated Catalogue of Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.583. A similar celadon-glazed waterpot, Kangxi six-character mark and of the period, was sold at Sotheby's Hong Kong, 4 April 2017, lot 1114.Waterpots of this form are also known covered overall in a white glaze, such as the waterpot in the Shanghai Museum, illustrated in The Complete Works of Chinese Ceramics, vol.14, Shanghai, 2000, pl.127. This elegant design of billowing clouds was also adapted for the doucai palette under the Yongzheng Emperor; for example, see a pair of waterpots illustrated in The Tsui Museum of Art, Hong Kong, 1991, pl.112.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

A FINE AND RARE FAMILLE VERTE NINETEEN-DISH SWEETMEAT SETKangxiVariously shaped as five-and-six-sided shallow trays with flat rims, all fitting tightly together to form a complete table accessory for a variety of flavoured foods, each enamelled with a shaped medallion containing clusters of lotus, plum blossoms, and other leafy shrubs, all reserved on a yellow ground enriched with brown flower heads, all contained in a fitted wood stand. Overall width 44cm (17 1/4in) (20).Footnotes:清康熙 素三彩花卉紋攢盒Provenance: Dr Carlo Maria Franzero (1892-1986), EnglandRalph M. Chait Galleries, New York, 11 November 2003A European private collection来源：Carlo Maria Franzero (1892-1986)博士，英格蘭Ralph M. Chait Galleries，纽约，2003年11月11日歐洲私人收藏Dr Carlo Maria Franzero (1892-1986), an Italian who visited China in 1921-1922 and settled in England for around 50 years, and who was a noted Chinese porcelain collector, a journalist, and an author of a vast range of historical biographies.Complete sets of sweetmeat dishes of this type are rare. See a similar yellow ground sancai-glazed sweatmeat set, Kangxi, illustrated in The Complete Collection of Treasures of the Palace Museum: Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Shenzhen, 2009, p.261, no.210. See also a related wucai set, Kangxi, in the Qing Court Collection and illustrated in The Complete Collection of Treasures in the Palace Museum: Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pl.96. Another set is in the Nanjing Museum, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.66.Compare with a related but smaller famille verte sweetmeat set, Kangxi, comprising 12 pieces, which was sold at Bonhams London, 27 February 2013, lot 109.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

A VERY RARE AND LARGE FAMILLE VERTE 'LONGEVITY' EWER AND COVERKangxiElaborately designed and potted as the characters Wu and Jiang, the front and back faces both brightly enamelled with flying cranes, recumbent rabbits and deer playing and leaping on terraces, the tall curling spout and handle with leafy pines and cloud-scrolls, the cover en suite, wood stand. 28cm (11in) high. (3).Footnotes:清康熙 五彩鶴鹿同春萬壽無疆执壺帶蓋Provenance: J. Pierpont Morgan (1837-1913), New York, collection no.E 13The Chinese Porcelain Company, New York, 4 October 1996 A European private collectionExhibited, Published and Illustrated: Stephen W. Bushell and William M. Laffan, Catalogue of the Morgan Collection of Chinese Porcelains, New York, 1904, case E, no.13, plate. XXXIX來源：J. Pierpont Morgan(1837-1913)，紐約，收藏編號 E 13The Chinese Porcelain Company，紐約，1996年10月4日歐洲私人收藏展覽著錄：Stephen W. Bushell and William M. Laffan，《Catalogue of the Morgan Collection of Chinese Porcelains》，紐約，1904，櫃E，編號13，圖版編號XXXIXJohn Pierpont Morgan (1837-1913), an American financier, banker, and art collector, created General Electric and the U.S. Steel Corporation. Known as 'the Napoleon of Wall Street', he was also a notable collector of books, pictures, gemstones, and Chinese porcelain. Much of his art collection was bequeathed to the Metropolitan Museum of Art, New York. The present ewer may have served as a suitable gift to a commemorate a birthday. Its shape is formed of two characters, Wu jiang, meaning 'Without boundaries.' This rebus recalls the popular phrase Wan shou wu jiang, meaning 'May you have ten thousand longevities without boundary.' The phrase, originally reserved for emperors and empresses, became a common birthday greeting during the Qing dynasty. The red-crowned cranes and yellow-spotted deer decorating the strokes of the characters are also symbolic of longevity. The former were praised since the ancient times for their capacity to fly high and were thus thought of being the vehicles transporting the Immortals through the heavens. Deer were believed to be the only animals that can find the fungus of Immortality and were often depicted standing beside Shoulao, the Star God of Longevity. Compare with a similar ewer, Kangxi, in the Brooklyn Museum of Art, New York, acc.no.6914.A related famille verte 'Shou' ewer, Kangxi, was sold at Christie's London, 13 May 2011, lot 1136.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

A RARE IRON-RUST-GLAZED SMALL BALUSTER VASE, MEIPING18th centuryWell potted, the exterior all under a rust-coloured rich dark mottled glaze firing to a chocolate-brown tone around the slightly-everted flaring neck. 18cm (7in) high.Footnotes:十八世紀 鐵鏽花釉梅瓶Provenance: Emil (1869-1948) and Jenny Baerwald, BerlinPaul Baerwald (1871-1961), New YorkJohn Sparks Ltd., London, 1937Ralph M. Chait Galleries, New York, 9 May 2003A European private collectionPublished, Illustrated and Exhibited: Gesellschaft für Ostasiatische Kunst, Ausstellung Chinesischer Kunst, Berlin, 12 January-2 April 1929, no.845, p.314John Sparks, Paul Baerwald Collection of Chinese Porcelain, London, 15 June–3 July 1937, no.128來源：Emil (1869-1948) 和Jenny Baerwald，柏林Paul Baerwald (1871-1961)，紐約倫敦古董商John Sparks Ltd.，1937Ralph M. Chait Galleries，紐約，2003年5月9日歐洲私人收藏展覽著錄：東方藝術協會，《Ausstellung Chinesischer Kunst》，柏林，1929年1月12日-1929年4月2日，編號845，第314頁John Sparks，'Paul Baerwald收藏的中國瓷器'，倫敦，1937年6月15日-7月3日，編號128Emil Baerwald collected Chinese porcelain and loaned the present vase to the seminal 1929 exhibition in Berlin. At some point in the 1930s the ownership of the vase and other parts of the collection was transferred to his brother Paul. Paul Baerwald was a German-born American philanthropist and banker. He began his banking career with Lazard-Speyer-Ellissen in Frankfurt, then joined Speyer Brothers in London and finally moved to New York to work with Speyer and Company and finally Lazard Frères until his retirement in 1930. He was also a chairman of the executive committee of Fidelity-Phoenix Fire Insurance Co., executive member of the fire Building Corporation, director of the General American Investors Corporation and advisory committee member of the Texas Pacific Land Trust.Baerwald was an avid collector of Chinese porcelain and in 1937, John Sparks in London organised an exhibition on Baerwald's collection and authored a catalogue titled An Exhibition of the Paul Baerwald Collection of Chinese Porcelain: Rare Monochromes, Blue and White, and Other Porcelains of the Sung, Ming and Chʼing Dynasties : June 15th-July 3rd, 1937.Iron-rust glaze (tiexiu hua you 铁锈花釉) was a successful innovation during the reign of the Yongzheng Emperor and became popular during the Qianlong period. The major colourants of the glaze are iron and manganese. See P.Y.K.Lam, Shimmering Colours: Monochromes of the Yuan to Qing Periods, Hong Kong, 2005, p.243. As seen in the present lot, the numerous star-like red and brown dots on the dark-brown glaze surface have greatly enriched its vitality. See a similar iron-rust-glazed meiping vase, late 18th century, in the Metropolitan Museum of Art, New York (acc.no.79.2.806). Another miniature iron-rust-glazed vase, meiping, 18th century, is in the same museum (acc.no.65.86.39). A related iron-rust-glazed vase, illustrated in The Complete Collection of the Treasures of the Palace Museum, Beijing, 1999, pl.254, p.278.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

A LARGE AND RARE BLUE AND WHITE DELFT-STYLE TULIP HOLDERKangxiElaborately constructed in the manner of a Dutch Delft original as a five-storey tiered room decoration, the top section as a tapering pyramid, above three tiers each set with four spouts at an angle to hold fresh flowers, the fourth tier as the base of a table with a recumbent bird between each leg, the lowest section as a square plinth painted on the four faces with alternate figures crossing a bridge and rocky clusters of shrubs. 62cm (24 1/2in) high.Footnotes:清康熙 代爾夫特風格青花山水圖花塔Provenance: A Scandinavia private collectionVanderven Oriental Art, 'S-Hertogenbosch, 31 October 2016A European private collection來源：斯堪的納維亞私人收藏斯海爾托亨博斯古董商Vanderven Oriental Art，2016年10月31日歐洲私人收藏The tulip-holder is modelled after a Dutch prototype produced in Delft porcelain by Adriaen Kocx from the De Grieksche A factory, which specialised in these items. The obelisk shape, associated with classical antiquity, is also reminiscent of Chinese pagodas. The Delft prototypes were in turn inspired by Moresque spouted flower holders from the Middle East. The Chinese porcelain versions of this form are very rare and some examples replicated the AK mark of Adriaen Kocx on the base. The tulip flower was introduced in Holland during the late sixteenth century and highly appreciated by connoisseurs and scholars, and then speculators and traders moved in, seizing upon the bulbs with the recklessness of Wall Street bankers chasing collateralised debt obligations. By the early 1630s a madness had gripped Holland and in 1634 one bulb of the Viceroy type sold for 2500 florins (a sheep cost 10 florins). By 1636-1637, the price of a single tulip bulb fetched even larger prices, sometime selling for the price of a house. Compare with a similar blue and white tulip-holder, Kangxi, in the collection of the Groninger Museum, illustrated by D.F.Lunsingh Scheurleer, Chinese Export Porcelain, New York, 1974, no.108. A similar pair of blue and white tulip vases, Kangxi, was sold at Sotheby's New York, 23 January 2020, lot 473. See also another pair which was sold at Christie's London, 30 September 2014, lot 60.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

TWO APPLE-GREEN-CRACKLE-GLAZED VESSELS18th centuryBoth with a characteristic deliberate wide brown-stained crackle, the taller with oviform body and tall slightly spreading neck, 14.5cm (5 1/2in) high; and the other with baluster body and short thick spreading neck, 11.5cm (4 1/2in) high. (2).Footnotes:十八世紀 綠釉長頸瓶 及綠釉罐 一組兩件Provenance: Danforth Miller Collection (the high-necked one)Parke-Bernet Galleries Inc., New York, 19 October 1944, lot 144 (the high-necked one)來源：Danforth Miller 舊藏(綠釉長頸瓶)Parke-Bernet Galleries Inc.，紐約，1944年10月19日，拍品編號144 (綠釉長頸瓶)A related apple-green glaze oviform vase, Yongzheng, in the Qing Court Collection, is illustrated in The Complete Collection of the Treasures of the Palace Museum: Monochrome porcelain, Shenzhen, 2010, p.251, no.229. Another related apple-green glazed vase, Kangxi, is in the collection of the Metropolitan Museum of Art, New York (acc.no.14.40.346). See another similar green-glazed bottle vase, Yongzheng or Qianlong, illustrated by J.Ayers, Chinese Ceramics: The Koger Collection, London, 1985, pp.172-173, no.145.Compare the bottle vase with an apple-green-glazed bottle vase, early 18th century, which was sold at Christie's New York, 17 September 2010, lot 1386; compare the jar with a related apple-green-crackle-glazed jar, Kangxi, which was sold at Christie's New York, 19 March 2015, lot 413.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

A VERY RARE PEACHBLOOM-GLAZED BRUSHWASHER, TANGLUO XIKangxi six-character mark and of the periodThe exterior under an even pale glaze with two areas naturally firing to a slightly darker tone, the interior of the vessel and within the foot fired white. 11.7cm (4 1/2in) diam.Footnotes:清康熙 豇豆紅釉筆洗青花「大清康熙年製」楷書款Provenance: Yamanaka & Co., New York (according to the collector's documents)A European private collection來源：山中商會，紐約（據藏家文件）歐洲私人收藏The present brushwasher belongs to a group of eight vessels referred to as the Badama, which literally translates as 'The Great Eight Numbers', which were made for the scholar's desk during the reign of the Kangxi Emperor. Characterised by a wide range of tones and variegated effects, the peachbloom glaze was considered one of the most important innovations developed by the Imperial kilns at Jingdezhen. Ceramic production at the Imperial kilns at Jingdezhen were revived during the reign of the Kangxi Emperor, after a period of nearly sixty years of standstill, and the arrival of Zang Yingxuan as supervisor of the kilns in 1681 initiated a new era of high-quality production and technical innovation.The copper red-pigment used in peachbloom glazes was difficult to fire so it was largely abandoned after the reign of the Xuande Emperor. It was re-introduced in the Jingdezhen kilns during the Kangxi reign with a newfound appreciation of the visually pleasant effect the pigment created during the firing, which ranged 'from the deep muted tones of ashes-of-roses and the apple-red to the lighter luminous glowing peach-pink [...]'; see R.Chait, 'The Eight Prescribed Peachbloom Shapes Bearing K'ang His Marks', in Oriental Art, vol.3, no.4, 1957, p.130. The peachbloom glaze was recorded in the 'Notes on the Nanyao' Nanyao Biji, composed during the reign of the Qianlong Emperor, as cuihong and cuiqing. The glaze was applied by blowing into a tube the other end of it had been wrapped with gauze and dipped into the red glaze until the biscuit body was entirely covered with red mottles. After firing at high temperatures, green mottles sometimes appeared on a pinkish and red ground.Recent scholarship has however identified a ninth shape making up the 'Prescribed Group', this being a variant of the globular waterpot used at the time. Accordingly, waterpots referred to as 'apple jars' Pingguo zun were modelled with a gently inward curving mouth rim, whilst the 'pomegranate jars' Shiliuzun were characterised by a raised, low, neck, which was similar to a stalk; see, J.Ayers, 'The Peachbloom Wares of the Kangxi Period (1662-1722)', Transactions of the Oriental Ceramic Society, vol.64, 1999-2000, p.49.Similar brushwashers have been widely published and are in numerous public and private collections. See, for example, a peachbloom-glazed brushwasher, Kangxi mark and period, in The Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p.237, no.236. A further brushwasher, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl.123.Compare with a similar peachbloom-glazed brushwasher, Kangxi mark and period, which was sold at Sotheby's New York, 21 March 2023, lot 14.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

A VERY RARE IMPERIAL 'PEACHBLOOM-TYPE'-GLAZED BOWLYongzheng six-character mark and of the periodUnusually fired on the exterior with an attractive pale oxblood glaze diffusing to a pale translucent tone of white, the interior of the bowl and within the foot entirely plain. 15.5cm (6in) diam.Footnotes:清雍正 紅釉碗青花「大清雍正年製」楷書款Provenance: an American Private Collection, acquired in the early 1900sRalph M. Chait Galleries, New York, 10 May 2016A European Private Collection來源：美國私人收藏，獲得於1900年代早期Ralph M. Chait Galleries，紐約，2016年5月10日歐洲私人收藏Vessels dating to the reign of the Yongzheng Emperor (r.1725-1735) decorated with a 'peachbloom-type' glaze are quite rare. This glaze is reminiscent of the peachbloom glaze that was first developed in the Kangxi period and reserved for a small group of vessels referred to as the 'Eight Great Numbers' Badama; see a complete set of badama in the Metropolitan Museum of Art, New York, illustrated by S.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, nos.231-238, p.237. The use of copper-red glaze at Jingdezhen was revived by the Kangxi Emperor following the intention to reproduce classic Ming sacrificial red jihong porcelain wares. The French Jesuit missionary Père François d'Entrecolles (b. 1664-1741) mentioned in his writing the details of the copper-red production at Jingdezhen including the sourcing of the copper, the recipes and the high level of technical knowledge acquired by the potters in making these wares; see N.Wood, Chinese Glazes, London, 1999, p.180.Compare with a similar copper-red glazed bowl, Yongzheng mark and of the period, which was sold at Christie's New York, 20 September 2013, lot 1364.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

A LONGQUAN CELADON-GLAZED 'PHOENIX-TAIL' VASE, YEN-YENYuan DynastyThe broad body applied with a single long continuous tendril coiling suspending four evenly spaced flower heads, between stiff leaves rising from the foot and horizontal ribs beneath the flaring rim, under a pale translucent even greyish-green glaze. 22cm (8 1/2in) high.Footnotes:元 龍泉窯青釉貼塑纏枝花卉紋鳳尾尊Provenance: Ralph M. Chait Galleries, New York, 20 November 2002A European private collection來源：Ralph M. Chait Galleries，紐約，2002年11月20日歐洲私人收藏The present vase is remarkable for its crisp and elegant floral decoration, which emerges under an attractive green glaze which accentuates the harmonious shape. Subtle details, such as the veining of the flowers and leaves, are visible through the glaze.Spreading over Zhejiang Province into the neighbouring province of Fujian, the Longquan kilns were conveniently located to reach the trade ports of Wenzhou and Quanzhou, from where merchandise could be shipped to foreign markets in the Far East, India, Southeast Asia, the Middle East and even Africa. This advantage was fully exploited in the Yuan and early Ming dynasty and large quantities of wares were made for foreign markets. Longquan celadon-glazed wares with moulded and applied decoration first appeared in the late Southern Song dynasty and were produced in larger quantities during the Yuan dynasty. Compare a larger vase of the same form and decoration as the present lot, dated by inscription to AD 1327, in the Sir Percival David collection, the British Museum, illustrated by M.Medley, Yuan Porcelain and Stoneware, London, 1974, pl.58.Compare with a related but larger Longquan celadon-glazed vase, Yuan dynasty, illustrated by S.Lee and Wai-kam Ho, Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368), 1968, no.63.A related but larger Longquan celadon-glazed vase, Yuan dynasty, was sold at Christie's New York, 15 May 2017, lot 501.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

A RARE YELLOW-GROUND GREEN ENAMELLED 'MAGPIES AND PEACHES' BOWLYongzheng six-character mark and of the periodThe interior entirely plain under an eggyolk-yellow glaze, the exterior with a similar yellow ground lightly incised with two large fruiting leafy peach trees issuing from a pierced rock, interspersed with magpies in flight, all finely glazed in apple-green, wood stand. 12.3cm (4 3/4in) diam. (2).Footnotes:清雍正 黃地綠彩花鳥圖碗 墨書「大清雍正年製」楷書款Provenance: Christie's Hong Kong, 28 October 2002, lot 740A European private collection來源：香港佳士得，2002年10月28日，拍品編號740歐洲私人收藏Bowls in the yellow and green palette, with peaches and magpies were first produced in the Kangxi period and continued to be made throughout the Qing dynasty; see a green-enamelled bowl, Kangxi mark and period, in the Palace Museum, Taipei, illustrated in Illustrated Catalogue of Ch'ing Dynasty Porcelain, vol.1, Tokyo, 1980, pl.31.According to Chinese tradition, the magpie, xique (喜鵲), is a bird of happiness, xi (喜), and a messenger bringing good news, while the peach, tao (桃) , believed to grow in the enchanted garden of the Queen Mother of the Western Paradise, is symbolic of longevity. Together, these symbols form the rebus Shou shang jia xi meaning'Happiness above Longevity', which made the bowl a suitable present for a birthday celebration.Compare with a similar yellow-ground green-enamelled 'peach and magpie' bowl, Yongzheng mark and period, illustrated by J.Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, pl.210; and a pair in the Tokyo National Museum is published in Catalogue of Old Oriental Ceramics, Tokyo, 1953, pl.212.A similar yellow-ground green-enamelled 'peach and bird' bowl, Yongzheng mark and period, was sold at Sotheby's Hong Kong, 12 October 2022 , lot 47.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

A LARGE FAMILLE VERTE 'BUDDHIST LION' DISHKangxiBrightly enamelled in turquoise, iron-red, apple-green, aubergine, yellow and brown with a large mythical beast standing on the edge of a terrace above wildly breaking waves, within three large heart-shaped panels of archaistic vessels on stands, alternating with three smaller panels each with a ferocious mythical animal, within a border of alternating trellis and flowerheads pattern. 35.5cm (13 3/4in) diam.Footnotes:清康熙 五彩開光瑞獸紋盤Provenance: Ralph M. Chait Galleries, New York, 19 November 1999A European private collection來源：Ralph M. Chait Galleries，紐約，1999年11月19日歐洲私人收藏Compare with a related famille verte dish decorated with similar lions, c.1700, illustrated by C.J.A.Jorg, Famille Verte: Chinese porcelain in Green Enamels, Lier, 2011, p.68, no.70. Another related dish with similar patterns and lappets, early 18th century, is illustrated in Ibid., p.49, no.42. A related famille verte 'Buddhist Lion' dish, Kangxi, was sold at Bonhams London, 18 May 2023, lot 152.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

A PAIR OF VERTE-IMARI FIGURAL DISHESKangxiBoldly and densely painted in pale blue and enamelled in black, green, and iron-red with a large central basket of blossoming tree peony and pine on a green terrace, within a band reserved with four butterfly cartouches, and a wide border depicting birds and foliage divided by blue panels of iron-red chrysanthemums, the exterior with floral shrubs and the base with N:127I inventory number. 22cm (8 1/2in) diam. (2).Footnotes:十八世紀早期 伊萬里式花鳥紋盤一對 Provenance: Augustus the Strong (1670-1733), Elector of Saxony and King of Poland (with engraved Dresden inventory mark on the base of each dish reading N:127 and I)Ralph M. Chait Galleries, New York, 12 November 2007A European private collection來源：奧古斯特二世(1670-1733)，薩克森選帝侯和波蘭國王 （盤子底部刻有有德累斯頓庫存編號N:127和I）Ralph M. Chait Galleries，紐約，2007年11月12日歐洲私人收藏The present examples are based on Japanese Imari plates of the same type and decoration. Due to its popularity, the pattern was copied in China, as well as Europe. Notable European factories that copied the pattern include Meissen (circa 1725), Frankenthal and Warsaw faïence (both circa 1770). For examples of all three, along with a Chinese original, see F.H.Hofmann, Das Porzellan, Berlin, 1932, pls.493-496. These types of dishes were produced in various sizes, a small (22cm diam.) example from the Mottahedeh collection is illustrated by D.Howard and J.Ayers, China for the West, vol,1, 1978, pp.144-145, no.126.The incised numbers on the present pair indicates that these were in the collection of Augustus the Strong (Augustus II), Elector of Saxony and King of Poland (1670-1733). An avid art collector, he amassed an extensive collection of porcelain which was housed in the 'Japanese Palace' in Dresden. A larger example (34.4cm diam.), from the Boymans Van Beuningen Museum, Rotterdam, is illustrated by C.J.A.Jörg, Famille Verte, Groningen, 2011, no.47, bearing inventory number N:279. Compare with a pair of related Verte-Imari dishes, Kangxi, which were sold at Christie's Paris, 12 July 2022, lot 720.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

A RARE IMPERIAL WHITE-GLAZED BOWL WITH CUT-OUT DECORATIONQianlong seal mark and of the periodUnusually and very delicately decorated, carved through the very thin body with an elaborate continuous design comprising seven profile flower heads, each within a continuous scrolling meander, the empty spaces pierced in the body only filled with the almost clear glaze. 13.5cm (5 1/4in) diam.Footnotes:清乾隆 白釉玲瓏瓷纏枝蓮紋碗青花「大清乾隆年製」篆書款Provenance: Garland collection, by reputeA European private collection來源：Garland舊藏（據傳）歐洲私人收藏James Garland (1840-1900) was born in Philadelphia. He was the Vice-President of the First National Bank of New York. He was also a co-founder of the Northern Pacific Railroad and towards the end of his life he moved to London as a partner with J.P. Morgan. He was a serious collector of tapestries, oriental jades and Chinese porcelain. The James A. Garland Collection was one of the largest and most comprehensive in the United States. The collection was on loan to the Metropolitan Museum of Art in New York until 1902 when the heirs sold it to the Duveen Brothers, who had then sold it to J.P. Morgan. The present lot is notable for its exquisite lace-like decoration, which was made by piercing the body with a delicate openwork design of small perforations that were subsequently filled with a clear glaze. An innovation of the Qianlong period, this decoration is known in the West as 'grains-de-riz' (rice grain), because the tiny perforations resembled small grains of rice.Compare with a related bowl, illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pl.147; another in the Palace Museum, Taipei, is published by J.Ayers and S.Masahiko, eds, Ceramic Art of the World, vol.15, Tokyo, 1983, pl.280; one with a more elaborate motif is illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.2, London, 1994, pl.793, and later sold at Sotheby's Hong Kong, 8 October 2012, lot 3; a pair from the Alfred F. Pillsbury collection in the Minneapolis Institute of Arts, included in the exhibition Chinese Ceramics from the Prehistoric Period through Ch'ien-Lung, Los Angeles, 1952, no.320; another slightly smaller pair in the Zhuyuetang Collection, is illustrated by L.Schwartz-Arenales, eds, Mille ans de Monochromes, Geneva, 2018, p.372, no.197a-b.See also a similar white glazed 'cut-out' decoration bowl and cover, Qianlong seal mark and of the period, which was sold at Christie's New York, 21-22 March 2013, lot 1501. A similar pair of bowls, Qianlong seal marks and of the period, was sold at Sotheby's London, 6 November 2019, lot 7. Another very similar white-glazed 'cut through' lotus bowl, Qianlong seal mark and of the period, was also sold at Bonhams London, 5 November 2020, lot 29.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

A GUANYAO-TYPE CRACKLE-GLAZED MALLET-SHAPED VASE17th/18th centuryHeavily potted, the glaze simulating a Song dynasty prototype, the broad oviform body and cylindrical neck with everted rim all under a widely-crackled glaze of pale caramel-brown tone. 16cm (6 1/4in) high.Footnotes:十七/十八世紀 仿官窯長頸瓶Provenance: Samson Collection (probably Henry C. Samson, d.1914, New York)H.A.E. Jaehne, New York A.J. Mercher (active around 1930s-40s), New YorkHans (1888-1966) and Ludmilla Arnhold (1894-1976), on 7 December 1944來源：Samson舊藏 （或為Henry C Samson，1914年去世，紐約）H.A.E. Jaehne，紐約A.J. Mercher （約活躍於1930-40年代），紐約Hans (1888-1966)和 Ludmilla Arnhold (1894-1976)伉儷獲得於1944年12月7日Song dynasty glazes were greatly admired by the Emperors of the Qing dynasty because of their beauty and understated elegance, and the potters at the Imperial kilns in Jingdezhen sought to reproduce these glazes on contemporary porcelain. The glaze coating the present vase is a reinterpretation of the highly-regarded Guan ware. In addition, the mallet shape is based on Song dynasty prototypes, an example of which is in the collection of the Palace Museum, Taipei, acc.no.K1B017856.Other Song dynasty inspired glazes on mallet-shaped vases were emulated during the eighteenth century. See a Ge-type mallet vase with straight neck, Yongzheng six-character mark and of the period, which was sold at Christie's Hong Kong, 27 November 2013, lot 3201; see also a crackled-glazed mallet vase, Yongzheng, illustrated by B.Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, p.75, no.194.Compare with a related guan-type mallet vase, 18th century, in The Metropolitan Museum of Art, New York, acc.no.1993.386.26. A related guan-type mallet vase, Yongzheng mark and of the period, was sold at Christie's New York, 24 September 2020, lot 855.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

A PEACHBLOOM-GLAZED BEEHIVE WATERPOT, TAIBO ZUNKangxi six-character mark and of the periodFinely potted of classic domed taibo zun form, the slightly tapering sides rising to a rounded shoulder and short waisted neck below a lipped mouth-rim, the exterior evenly applied overall save for the rim and base with a sumptuous crimson-red glaze suffused with pink sprinkles imitating the skin of a ripening peach, the body further faintly incised with three roundels enclosing archaistic dragons, the recessed white base inscribed in underglaze blue with a six-character reign mark in three columns. 12cm (4 6/8in) diam.Footnotes:清康熙 豇豆紅釉團龍紋太白尊青花「大清康熙年製」楷書款Provenance: Alexander von Frey, ParisRalph M. Chait Galleries, New York, 20 September 1944Hans (1888-1966) and Ludmilla Arnhold (1894-1976) acquired from the aboveA European private collection來源： Alexander von Frey，巴黎Ralph M. Chait Galleries，紐約，1944年9月20日Hans (1888-1966)和Ludmilla Arnhold (1894-1976)伉儷從上處購得歐洲私人收藏Evenly coated with a lustrous glaze of crushed raspberry tone, ending evenly beneath the lipped rim and thickening around the base, the present waterpot is one of the finest examples of its type.Waterpots shaped as beehives are known as taibo zun after poet Li Taibai of the Tang dynasty, who is often depicted leaning against a large wine jar of a similar form. The shape was also referred to as jizhao zun as it resembled a chicken coop.The attractive peachbloom glaze was notoriously difficult to achieve due to the temperamental nature of the copper pigment and appears to have been only employed on a small number of shapes reserved for use on the scholar's table and created during the reign of the Kangxi Emperor.Copper-red glazes were produced since at least the Ming dynasty, however, they were greatly improved during the Kangxi reign, likely under the supervision of Zang Yingxuan, the Imperial supervisor who was sent to Jingdezhen in 1681 to oversee the rebuilding of the kilns. The fugitive copper-lime pigment, rather difficult to manage, would have been sprayed onto a layer of transparent glaze via a long bamboo tube and then fixed with another coat of clear glaze. A similar peachbloom-glazed waterpot, Kangxi mark and period, in the Palace Museum, Beijing, is illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p.142, pl.125; three further 'peachbloom'-glazed beehive waterpots, Kangxi marks and period, are illustrated by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 206, and M.Medley, Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, pl.580, and S.G.Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 234.Two similar peachbloom-glazed beehive waterpots, Kangxi marks and period, were sold at Christie's Hong Kong, 29 November 2013, lot 1904 and 31 May 2017, lot 3012.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

A pair of late 19th/early 20thC Chinese porcelain bottle vases, decorated in coloured famille rose, on a yellow ground with Chien Lung six character marks  3.25"h

A mid 20thC Chinese porcelain famille rose model cockerel, brightly enamelled in naturalistic tones  12"h

A late 19th/early 20thC Chinese famille rose porcelain bowl and cover, decorated with figures, engaged in everyday pursuits  6"h

A late 19th/early 20thC Chinese porcelain baluster shape vase with a narrow neck and flared rim, decorated in famille rose with scholars in discussion  16.5"h on a turned and carved hardwood stand

A mid 20thC Chinese porcelain dish, painted with bats and characters amongst trees  bears apocryphal Chien Lung marks  9.25"w

A 19thC Chinese porcelain dish, decorated in famille rose and gilding with fruit, insects and dragons in clouds  9.5"dia