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A 20th Century Chinese porcelain blanc de chine figurine depicting a figure with flowing robes holding a vase - a/f

An antique Chinese small porcelain vase with hand painted decoration depicting ladies in various activities (six character blue painted seal to base) - sold with a similar tea bowl with painted willow pattern decoration and a later flower brick - various condition

An antique Chinese porcelain plate with hand painted decoration depicting a group of vases set on a stand and a later Chinese plate with hand painted polychrome decoration depicting three ladies in a garden room with calligraphic writing above and a red character mark to rear - sold with a 20th Century Chinese dish with red and blue decoration depicting bats amidst clouds and a red four character seal mark to rear

A Chinese porcelain ginger jar and cover with hand painted prunus decoration - sold with a similar with famille rose style decoration

An antique Chinese porcelain plate with hand painted decoration depicting children playing with lanterns - sold with another similar and a smaller plate depicting children playing games

A quantity of Chinese porcelain rice bowls, lids and spoons - sold with a pair of turquoise decorated temple dogs

An old Price Bristol stoneware storage jar with lid - sold with a modern Chinese porcelain stick stand with blue painted decoration

A pair of 19th Century Chinese Canton porcelain candlesticks with typical famille rose style decoration depicting figures within panels, an antique Chinese porcelain lidded dish with similar figural decoration, a similarly decorated plate and a small comport with pheasant decoration - sold with similar lid and a small Staffordshire spaniel

A pair of 20th Century Chinese porcelain jardinieres with green and red painted decoration depicting insects amidst foliage - both drilled to base

A WHITE JADE CARVING OF A BOY19th/20th centuryFinely carved as an anatomically accurate boy crawling on all fours clad in a dudou bodice, the head with joyful expression and two tufts of hair on the sides, the stone of even pale white tone. 8.5cm (3 2/8in) long. Footnotes:十九/二世世紀 白玉雕童子把件 Provenance: Joseph (1938-2005) and Bella (1941-2011) Shapiro, and thence by descent 來源：Joseph Shapiro (1938-2005)和 Bella Shapiro (1941-2011)舊藏，並由後人保存迄今The present lot illustrates the ways in which the Confucian doctrine of filial piety, together with the cult of ancestor worship, underscored the need for children, particularly boys, to continue the family line and make offerings to the ancestors for their afterlife. As such, the depiction of boys can be found in various media in Chinese art including painting, porcelain, lacquer and jade carvings. A related white jade boy, Ming dynasty, in the Qing Court Collection, is illustrated in the Compendium of Collections in the Palace Museum: Jade, Beijing, 2011, vol.6, p.276, no.288.Compare with two related white jade 'boy and lingzhi' carvings, Qing dynasty, which were sold at Christie's Hong Kong, 4 October 2018, lot 156.For further information on this lot please visit Bonhams.com

A RARE BLUE AND WHITE EIGHT 'TRIGRAMS' JARJiajing six-character mark and of the period The bulbous body rising from a spreading foot, painted around the exterior with a row of trigrams in circles surrounded by auspicious cranes in various positions amidst ruyi-shaped clouds, the six-character mark on the base arranged in a circle. 15cm (5 3/4in) diam. Footnotes:明嘉靖 青花八卦雲鶴紋罐青花「大明嘉靖年造」楷書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein (1915-1985)舊藏，並由後人收藏迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.The Jiajing emperor was an enthusiast of Daoist rituals and ceramic wares with the 'Eight Trigrams motifs' related to Daoism, were particularly favoured. See a very similar blue and white footed bowl, Jiajing mark and period, in the Metropolitan Museum of Art, New York (acc.no.1991.253.49). Compare also with a similarly-shaped blue and white jar, Jiajing mark and of the period, illustrated in Enlightening Elegance. Imperial Porcelain of the Mid to Late Ming. The Huaihaitang Collection, Hong Kong, 2012, pp.154-155.For further information on this lot please visit Bonhams.com

A RARE WUCAI 'FIVE POISONOUS CREATURES' SAUCER-DISHWanli six-character mark and of the periodThe dish finely decorated in the centre with a landscape scene featuring an Immortal riding a mythical animal amidst pine trees, floral shrubs and the 'Five Poisonous Creatures', also depicted on the exterior alternating with floral sprays, the base with the six-character mark within a double circle in underglaze blue. 14.3cm (5 5/8in) diam.Footnotes:明萬曆 五彩張天師斬五毒紋盤青花「大明萬曆年製」楷書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein (1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.The 'Five Poisons' depicted on the present dish refer to 'Five Poisonous Animals' comprising the snake, the three-legged toad, the centipede, the scorpion and the lizard. The practice of using the 'Five Poisons' to 'defeat poison with poison' (以毒攻毒 yi du gong du) was applied in Chinese medicine since the earliest times; see Yan Liu, Healing with Poisons, Washington, 2021, p.8. The Five Poisons were thought to possess the power to counteract any pernicious influences and their protective qualities were called upon on the occasion of the Dragon Boat Festival, which occurs on the fifth day of the fifth lunar month.Compare with a similar wucai dish, Wanli mark and period, also decorated with the 'Five Poisonous Creatures', which was sold at Christie's Hong Kong, 27 October 2003, lot 614.For further information on this lot please visit Bonhams.com

A RARE GREEN AND AUBERGINE-GLAZED 'DRAGON' BOWLKangxi six-character mark and of the periodThe bowl with rounded sides rising from a short straight foot to a slightly everted rim, finely decorated around the exterior with a pair of aubergine five-clawed dragons striding amidst clouds in pursuit of 'flaming pearls' above tumultuous waves and the mythical mountains, all on a green ground, the interior white, the base with the six-character mark in underglaze blue. 13.4cm (5 1/2in) diam.Footnotes:清康熙 綠地褐彩雲龍紋碗青花「大清康熙年製」楷書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.According to The History of the Palace (Guochao gongshi), compiled in the seventh year of the Qianlong reign (1742), vessels decorated with designs of aubergine dragons on a green ground were intended for use by the emperors' concubines of the fifth rank, guiren 貴人. A similar green-ground aubergine-glazed 'dragon' bowl, Kangxi mark and period, is illustrated by Geng Baochang, Gugong Bowuyuan cang gu taoci ciliao xuancui, vol.2, Beijing, 2005, pl.88; another in the Shanghai Museum is published by Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl.196. Compare also with two other similar green and aubergine-glazed 'dragon' bowls, Kangxi marks and period, in the Helen and Peter Lin Collection, illustrated in Joined Colours, Decoration and Meaning in Chinese Porcelain, Washington, 1993, p.90, no.19 and p.91, no.20. Compare with a similar aubergine-glazed green-ground 'dragon' bowl, Kangxi six-character mark and of the period, which was sold at Bonhams London, 12 May 2022, lot 171.For further information on this lot please visit Bonhams.com

A VERY RARE DOUCAI 'CHRYSANTHEMUM' MEDALLION BOWLYongzheng six-character mark and of the period The finely-potted bowl with gently rounded sides rising from a short straight foot, meticulously painted with underglaze blue outlines and overglaze enamels on the exterior with five medallions containing multi-coloured scrolling chrysanthemums, surrounded by tricorn scrolling floral motifs. 11.8cm (4 1/2in) diam.Footnotes:清雍正 鬪彩團菊紋碗 青花「大清雍正年製」楷書款 Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.Meticulously decorated with roundels of chrysanthemum flowers separated by lotus sprays, the present bowl is a testament to the Yongzheng emperor's penchant for classic styles of the past. In this instance, the design and colour scheme are based on a Ming dynasty prototype dating to the Chenghua period, which was adapted and reinterpreted in accordance to contemporary taste. See a doucai bowl excavated from the Ming Imperial kilns at Jingdezhen, included in the exhibition A Legacy of Chenghua, The Tsui Museum of Art, Hong Kong, 1993, no.C119. Chenghua polychrome porcelain provided much inspiration to the potters active at the Imperial kilns during the Yongzheng period as these early wares were particularly treasured by the emperor. An official record dated to 1732 lists 57 porcelain designs that were to be produced by the Imperial kilns and mentions Chenghua polychrome porcelain among the most admired wares of the past. While masterpieces of the past were at times sent to Jingdezhen and used as models for direct copying, the most successful Yongzheng wares are contemporary interpretations of classic designs. The present lot is such a creation: chrysanthemum roundels are known on Chenghua porcelain but the addition of the aubergine enamels to highlight some of the petals is characteristic of the Qing period. Compare with a pair of similar doucai bowls, Yongzheng marks and of the period, illustrated in Chinese Porcelain: The S.C.Ko Tianminlou Collection: Part I, Hong Kong, 1987, no.100, and a similar doucai bowl, Yongzheng mark and period, in the Palace Museum, Beijing, illustrated by Beauty of Ceramics: Gems of Doucai, vol.6, Taipei, 1993, pl.102.See three similar doucai 'chrysanthemum' medallion bowls, Yongzheng six-character marks and of the period, which were sold at Sotheby's Hong Kong, 29 April 2022, lot 3515, Sotheby's London, 6 November 2016, lot 152 and Christie's Hong Kong, 28 May 2014, lot 3459.For further information on this lot please visit Bonhams.com

A TEADUST-GLAZED STEMBOWL'Zhi ben tang' three-character mark, Jiaqing/DaoguangFinely potted with shallow sides rising to a slightly everted rim, resting on a widely splayed foot encircled by a raised rib, applied overall with an even deep olive-green glaze with very fine yellow speckles, the underside of the foot reserved with a three character Zhi ben tang mark. 18cm (7 1/8in) diam. Footnotes:清嘉慶/道光 茶葉沫釉高足碗 「植本堂」篆書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.The Zhi ben Tang (植本堂) 'Hall of the Roots of Plants' is mentioned in the Taoya (陶雅) where it states that the private kiln mostly produced 'teadust' glazed wares in the Jiaqing and Daoguang periods of the Qing dynasty. See a very similar teadust-glazed stem bowl, 1800-1850, in the British Museum, (acc.no.PDF A570), illustrated by R.Scott, Illustrated Catalogue of Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, London, 1989, p.40.For further information on this lot please visit Bonhams.com

A RARE TEADUST-GLAZED DOUBLE-GOURD VASEQianlong seal mark and of the period The bulbous lower body and elongated upper bulk joined by a slender waist moulded with lappets, flanked by a pair of S-shaped handles terminating in ruyi heads, covered with a finely mottled glaze of deep olive tone, the base carved with six-character mark written in seal script. 26cm (10 1/4in) high.Footnotes:清乾隆 茶葉沫釉雙耳葫蘆瓶「大清乾隆年製」篆書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.The double-gourd vase with loop handles is known as fushouping and carries connotations of good fortune, happiness and longevity. The teadust glaze is composed of olive and yellow specks resembling teadust. It had been used in the Yaozhou and other north Chinese kilns during the Tang and early Song dynasties, but reached its maturity by the Yongzheng and Qianlong reigns of the Qing dynasty, when it was known as 'factory glaze', changguan you.For similar vases, Qianlong seal marks and period, see the catalogues to the exhibitions at the Art Museum of the Chinese University of Hong Kong, Shimmering Colours: Monochromes of the Yuan to Qing Periods: The Zhuyuetang Collection, no.167, and Ethereal Elegance: Porcelain Vases of the Imperial Qing: The Huaihaitang Collection, no.60. For a further example, see R.Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol.II, no.938.Compare with a similar teadust-glazed double-gourd vase, Qianlong seal mark and period, which was sold at Bonhams London, 10 November 2011, lot 67.For further information on this lot please visit Bonhams.com

A PAIR OF YELLOW-GLAZED INCISED BOWLSDaoguang seal marks and of the periodEach well potted with a rounded body rising from a short ring foot, finely incised with four stylised floral medallions interspersed with clouds above a band of lappets, the well centred with a further floral medallion within a double circle, covered overall with an egg yolk-yellow glaze, the base with the underglaze blue seal mark. The largest, 12cm (4 3/4in) diam. (2).Footnotes:清道光 黄釉暗刻花卉纹碗一對青花「大清道光年製」篆書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.A similar bowl, Daoguang mark and period, in the Olmer collection, Roemer Museum, Hildesheim, is illustrated by U.Wiesner, Chinesisches Porzellan, Mainz am Rhein, 1981, p.169, no.104.Compare also with one similar yellow-glazed bowl, Daoguang seal mark and of the period, which was sold at Christie's New York, 19 September 2007, lot 351.For further information on this lot please visit Bonhams.com

A RARE POLYCHROME ENAMELLED 'FLORAL' BOWLShendetang zhi iron-red mark, DaoguangThe rounded sides rising from a slightly tapered foot to a gently flaring rim, finely enamelled to the exterior with sprays of blossoming flowers and foliage, the base with the four-character mark in iron red. 10.6cm (4 1/8in) diam.Footnotes:清道光 粉彩花卉紋碗礬紅「慎德堂製」楷書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.See a similar polychrome enamelled 'floral' bowl, Shende Tang zhi mark in iron red, Daoguang, illustrated in Splendour of the Qing Dynasty, Hong Kong, 1992, p.332, no.199. Compare also with a related famille rose bowl, Shende Tang Zhi mark in iron red, Daoguang, which was sold at Christie's New York, 20 September 2013, lot 1398.For further information on this lot please visit Bonhams.com

A PAIR OF FAMILLE ROSE YELLOW-GROUND 'WAN SHOU WU JIANG' SAUCER-DISHESJiaqing iron-red seal marks and of the periodEach with shallow rounded sides rising from slightly tapered foot to a gently flaring rim, the exterior delicately enamelled with iron-red roundels enclosing the characters wan shou wu jiang (boundless longevity), alternating with leafy lotus scrolls, all reserved on the lemon-yellow ground, the interior painted in iron red with five bats encircling a shou medallion. 11.4cm (4 1/2in) diam (2).Footnotes:清嘉慶 黃地粉彩花卉紋萬壽無疆盤一對礬紅「大清嘉慶年製」篆書款Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.Compare with a similar pair of famille-rose dishes, Jiaqing seal marks and of the period, which was sold at Sotheby's Hong Kong, 30 November 2017, lot 653.For further information on this lot please visit Bonhams.com

A FINE AND RARE WHITE JADE BOWLQianlongSmoothly carved with deep rounded sides rising from a short slightly tapering foot to a slightly tapering rim, the translucent stone of even pale white tone. 13.5cm (5 1/4in) diam.Footnotes:清乾隆 白玉素碗Provenance: a Western private collection, and thence by descent來源：西方私人收藏，並由後人保存迄今White jade bowls with a flawless quality of translucent stone, perfectly finished with a lustrous sheen and carved with gently rounded sides and flaring rim, embody the sophisticated taste of the Qianlong reign. The thin walls of the vessel, highlighting the translucency and purity of the material, probably inspired the creation of white porcelain bowls from the same period. Compare with a pair of similar but slightly larger white jade bowls, Qianlong four-character marks and of the period, in the University Museum and Art Gallery, Hong Kong, illustrated in Virtuous Treasures: Chinese Jades for the Scholar's Table, 2008, Hong Kong, p.82, fig.31.Compare with a pair of white jade bowls, Qianlong marks and of the period, which were sold at Bonhams Hong Kong, 30 May 2017, lot 115; see also a similar white jade bowl, Qianlong, which was sold at Bonhams London, 9 November 2017, lot 261.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 CARVED CELADON-GLAZED 'PEONY' BOWLYongzheng seal mark and of the periodFinely carved in shallow relief with a continuous peony scroll below a narrow band of hooked ribbon scroll, the foot with key-fret and the interior with scrolling peonies around a central medallion with further peony spray, the interior rim with a band of key-fret, covered overall in a pale celadon glaze. 26.7cm (10 1/2in) diam. Footnotes:清雍正 青釉淺浮雕纏枝花卉紋碗青花「大清雍正年製」篆書款Provenance: Sotheby's Hong Kong, 29 November 1976, lot 528A European private collection來源：香港蘇富比，1976年11月29日，拍品編號528歐洲私人收藏Remarkable for their impeccable quality of the glaze, elegant shapes and refined bodies; monochrome porcelains made in the Imperial kilns at Jingdezhen during the Yongzheng reign are ranked among the finest examples of Imperial wares made during the Qing dynasty. The Yongzheng emperor's enthusiasm for ancient art and innovation is clearly displayed by the present bowl. The elegant scrolling flower motif is reminiscent of early 15th century blue and white Imperial porcelain, while the glaze has been made to imitate the celebrated 'Longquan' celadon wares. By combining the two together, the potter has succeeded in creating a contemporary, elegant bowl suitable to the taste of its time. A smaller celadon-glazed bowl of this form and decoration, also with a Yongzheng reign mark and of the period, in the Palace Museum, Beijing, is illustrated in Qingdai yuyao ciqi, vol.1(II), Beijing, 2005, pl.106. See also a similar celadon glazed bowl, Yongzheng seal mark and period, illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, London, vol.2, 1996, pp.258-259, no.144.A similar bowl, Yongzheng seal mark and of the period, was sold at Sotheby's Hong Kong, 8 April 2011, lot 3007. A related large celadon-glazed bowl with fruits, Yongzheng seal mark and of the period, was sold at Bonhams Hong Kong, 28 May 2019, lot 149.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 FLAMBE-GLAZED RECTANGULAR PEAR-SHAPED VASE, HUQianlong seal mark and of the periodThe pear-shaped vessel covered in a rich purple transmutation glaze streaked with mottled sky-blue, thinning to a light beige at the mouth rim, the edges of the square tubular handles and the moulded channels on the neck, all running down to a neatly finished footrim, the glaze with typical triangular pin-pricks, the body with moulded peach-shaped panels to each side, the base and inside footrim with an ochre glaze over the incised zhuanshu mark.30cm (11 3/4in) high. Footnotes:清乾隆 窯變釉貫耳方壺 「大清乾隆年製」篆書刻款Provenance: John Sparks Ltd., LondonAn Irish private collection, acquired from the above on 5 November 1952, and thence by descent來源：倫敦古董商 John Sparks Ltd.愛爾蘭私人收藏，在1952年11月5日從上處購得，並由後人保存迄今The inspiration for the flambé glaze can be traced back to the splashed Jun wares of the Song dynasty. However this particular red glaze, derived from copper but also containing lead, was exceptionally unstable and difficult to control in the kiln, resulting in the highest failure rate of all Chinese glazes. It was not until an extraordinary technical mastery was developed during the Qing period, and the Qianlong reign in particular, that successful flambé-glazed porcelain could be produced, highlighting the exceptional quality and rarity of the present lot. The unusual shape of the hu vase, with its corners, handles and shallow boss on each side, presented additional possibilities for streaking and pooling for the craftsman to explore.A number of examples of this type of vase are in museum and private collections: one in the British Museum is illustrated by R.L.Hobson, Chinese Pottery and Porcelain, Vol.II, London, 1915, pl,.23, fig.1. A very similar vase in the Huaihaitang collection, Qianlong seal mark and period, is illustrated by P.Lam, Ethereal Elegance: Porcelain Vases of the Imperial Qing: The Huaihaitang Collection, Hong Kong, 2007, no.78, and another in the Tsui Museum of Art is illustrated by Yang Boda, The Tsui Museum of Art: Chinese Ceramics IV: Qing Dynasty, Hong Kong, 1995, no.47.See a similar flambé-glazed rectangular pear-shaped vase, Qianlong seal mark and of the period, which was sold at Bonhams London, 15 May 2014, lot 41.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 COPPER-RED GLAZED VASE, YUHUCHUNPINGQianlong six-character seal mark and of the periodThe vessel elegantly potted with a pear-shaped body sweeping up to a waisted neck and a broad everted rim, supported on a short slightly splayed foot, richly applied to the exterior starting right below the rim with a mottled raspberry-red glaze thinning to a light mushroom tone at the foot, the reserved base glazed white and inscribed with the reign mark within a double circle. 35cm (13 6/8in) high.Footnotes:清乾隆 霁紅釉玉壺春瓶青花「大清乾隆年製」篆書款Provenance: a European private collection來源：歐洲私人收藏A similar copper-red-glazed vase, Qianlong seal mark and of the period, in the Nanjing Museum, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl.346. Another similar vase, Qianlong seal mark and of the period, is illustrated in the Illustrated Catalogue of Tokyo National Museum: Chinese Ceramics, vol.2, Tokyo, 1990, pl.697. See also another similar vase, Qianlong seal mark and of the period, from the Hellebronth and Bernheimer collections, illustrated in Chinesische Keramik: Museum für Ostasiatische Kunst, Cologne, 1988, no.110.Compare with a similar copper-red-glazed vase, Qianlong seal mark and of the period, which was sold at Sotheby's New York, 15 September 2015, lot 85. See also a similar copper-red-glazed pear-shaped vase, Qianlong seal mark and of the period, which was sold at Christie's New York, 24 March 2011, lot 1144.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 BLANC-DE-CHINE FIGURE OF GUANYINImpressed Boji Yuren seal mark, late Qing Dynasty/Republic PeriodThe deity finely modelled standing, draped in long flowing robes open at the chest to reveal beaded jewellery and cascading to the rockwork plinth, her feet exposed, her delicate hands held in front of her belly, the face with contemplative expression beneath finely moulded tiara and hood, covered in a yellowish-white glaze, the back impressed with the four-character seal mark. 55cm (21 1/2in) high.Footnotes:Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent清晚期/民國 德化白釉觀音立像「博及漁人」篆書款來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer DD夫人（1926-2022年）舊藏，並由後人保存迄今The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.The impressed seal mark 'Boji Yuren' can be read as 'virtue extends to all, including fishermen'; four figures bearing the Boji Yuren seal mark, are illustrated by J.Ayers in Blanc de Chine: Divine Images in Porcelain, pp.117-120, pls.68-71.Compare with a similar large blanc-de-Chine figure of Guanyin, Boji Yuren seal mark, late Qing dynasty, which was sold at Bonhams London, 10 November 2016, lot 28.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' DISHKangxiWith rounded sides rising from a tapering foot to an everted rim, the interior painted with a medallion centred with a Buddhist lion encircled by a band of continuous lotus meander, further encircled by eight lotus lappets decorated with mythical four-legged animals alternating with bird and flowers vignettes, all reserved on a dotted green ground interspersed with floral scrolls, the rim painted with floral cartouches reserved on a diaper ground. 50cm (19 6/8in) diam.Footnotes:清康熙 五彩開光瑞獸紋盤Provenance: a European private collection來源：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. See also a related famille verte dish, Kangxi, illustrated in Viaggio in Occidente. Porcellane Orientali nelle Civiche Collezioni Genovesi, Milan, 1992, p.191.Compare with a related large famille verte dish, Kangxi, which was sold at Bonhams London, 7 November 2013, lot 204.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 PORCELAIN MODELS OF DEERQianlongEach gracefully modelled standing four-square with their heads tilted in calm and gentle expressions slightly to the side, with pricked ears behind curved and branched antlers above almond-shaped eyes, naturalistically decorated with spotted yellow fur, the meticulously painted hairs further detailed with white down on the breast, the hooves enamelled black, fitted wood stands. 28cm (11in) high. (2).Footnotes:清乾隆 粉彩鹿形擺件一對Provenance: a British private collection, with the family prior to 1917, and thence by descent來源：英國私人收藏，由家族成員在1917年前獲得，並由後人保存迄今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.Due to the recurring difficulties in creating porcelain animals standing on four thin legs, deer were normally modelled in seated or recumbent positions. Far fewer free-standing versions of porcelain deer appear to be preserved. See, for example, two larger porcelain models of deer, circa 1750 and 18th/early 19th century, in the Peabody Essex Museum, Salem MA, illustrated by W.R.Sargent, The Copeland Collection. Chinese and Japanese Ceramic Figures, Salem MA, 1991, nos.72 and 104.It has been suggested that porcelain models of deer and cranes, were intended for for the Imperial Court rather than for export. Fragments of discarded porcelain models of deer still unpainted, have been found at the Qing Imperial kiln sites at Jingdezhen, see Wang Guangyao, 'Cong Gugong cang Qingdai zhi ci guanyang kan Zhongguo gudai guanyang zhidu. Qingdai yuyaochang yanjiu zhi er', Gugong Bowuyuan yuankan/Palace Museum Journal, no.6, 2006, p.19, fig.15 (fig.2).Compare with a related model of a standing deer, Qianlong, which was sold at Sotheby's London, 12 May 2021, lot 55. See also a related but smaller porcelain model of a recumbent stag, Qianlong, which was sold at Christie's New York, 23 October 2022, lot 596.For further information on this lot please visit Bonhams.com

A RARE PAIR OF 'ROYAL ARMS OF FRANCE' CUP-COOLERSKangxiEach of cylindrical form with straight sides, finely enamelled with the Royal arms of Louis XV within the orders of Saint-Michel and Saint-Esprit, a band of gilt and iron-red scrolling lotus punctuated by cartouches of addorsed L's at the mouth rim, the exterior with further sprays of pomegranates, flowers and fruits, flanked by a pair of mythical beast-head handles. Each, 16.5cm (6 1/2in) wide. (2).Footnotes:清康熙 青花礬紅描金法國王室冷酒器一對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Commissioned for King Louis XV (1710-1774), who succeeded his great grandfather to the throne in 1715, the present lot is extremely rare. Chinese export porcelain made for the French nobility and Royal Court is relatively unusual compared with the large number of services specially ordered with English coats of arms. In the early eighteenth century in France, only the French Court and noble families of Brittany with trade contracts were able to commission Chinese services. This rare wine cooler bears the Royal arms of France encircled by the chains of the orders of the Holy Ghost and of Saint Michael.The elaborate service of which the present lot was a part, included a wide variety of diverse forms such as candlesticks, spice canisters, tripod bowls, shell-shaped tureens and knife handles. Finely painted in underglaze blue, iron red, black and blue enamels and gilt, the quality of the decoration on this lot gives an indication of the visual impact of the entire service. See a very similar French Royal armorial wine cooler, Kangxi, illustrated by The Chinese Porcelain Company, Important Chinese Export Porcelain from Kangxi to Jiaqing, New York, 1999, pp.34-35, and also the front cover. See a saucer-dish from the same service, Kangxi, illustrated by D.S.Howard, The Choice of the Private Trader: The Private Market in Chinese Export Porcelain illustrated from the Hodroff Collection, Minneapolis, 1994, p.51, no.21. A tureen and cover with the French Royal arms, circa 1725-1730, also from the Hodroff collection, was sold at Christie's New York, 21 January 2009, lot 266. Another piece from the service is in the Musee National des Arts Asiatiques-Guimet, Paris, illustrated by M.Crick, 'Trade with France', Oriental Art, vol.XLV, no.1, 1999, p.57, fig.10. Similar designs with the Arms of France also appeared on services for Philip d'Orleans, who served as Regent from 1715-1723. See for example, a baluster vase with similar French Royal arms but with denser floral groups, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.I, London, 2016, pp.268-269, no.560.See a large French Royal wine cooler from the Benjamin F. Edwards III Collection, which was sold at Christie's, New York, 22 January 2003, lot 73. A tripartite spice box and cover was sold Christie's New York, 14 October 1999, lot 114 and tureens were sold at Sotheby's Monaco, 23 June 1986, lot 1181. See also a large French Royal armorial dish, circa 1725-1730, which was sold at Christie's New York, 26 January 2015, lot 72. A massive pair of French Royal armorial dishes, Yongzheng, was sold at Christie's New York, 17 January 2019, lot 389.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 PALE GREEN JADE CIRCULAR 'BOYS' BOX AND COVER18th centuryOf flattened circular shape, the top finely carved in relief with a mountainous scene featuring a group of boys, one holding a chime, another a ruyi sceptre and the third with a large plant of rodhea niponica, all beneath gnarled pine trees and jagged rocks, the latter continuing around the sides of the body, the stone of pale green tone with inclusions. 11cm (4 1/2in) diam. (2).Footnotes:十八世紀 青白玉雕百子蓋盒Provenance: a European private collection, and thence by descent來源：歐洲私人收藏，並由後人保存迄今The depiction of numerous boys at play in a garden, representing the wish for many sons, was a popular subject in the decorative arts of the Ming and Qing dynasties. The auspicious theme refers to King Wen of the Zhou dynasty who had ninety-nine sons and adopted one more to make one hundred. In the present vase, each of the boys are engaged in activities laden with symbolism: the boys carrying a vase, for example, make up a pun for peace; the boy holding the chime sheng, whose name is a pun on the word 'ascend', in one hand, and a ruyi sceptre in the other, underscores the wish for attaining an official career. The 'Hundred Boys' design would have likely been influenced by either woodblock prints, paintings or contemporaneous porcelain wares produced at Jingdezhen. See a related jade box, 18th century, in the British Museum, London, carved with floral designs, illustrated by J.Rawson, Chinese Jade. From the Neolithic to the Qing, London, 1995, p.398, no.29:11.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 MING-STYLE BLUE AND WHITE LOTUS-SCROLL BOTTLE VASEQianlong seal mark and of the period The finely potted globular body rising from a short spreading foot to a tall elegant waisted neck, painted in rich 'heaped and piled' cobalt-blue tones with a composite flower scroll band, all between lotus lappet and 'classic' scroll bands at the base and a ruyi band at the shoulder, the neck with stiff leaf and key-fret bands below a wave band at the rim. 38.3cm (15 1/8in) high.Footnotes:清乾隆 青花纏枝蓮紋賞瓶青花「大清乾隆年製」篆書款Provenance: Dorothy Joan (née Murphy) (1918-1989) and Roland Milton (1917-1990), UK, who were gifted the vase on their wedding in May 1945, and thence by descent來源：Dorothy Joan (née Murphy)(1918-1989) 和 Roland Milton (1917-1990)，英國，在 1945年5月的婚禮上被贈予此瓶，並由後人保存迄今Elegantly decorated with designs drawn from the repertoire employed during the early phases of the Ming dynasty, the craftsman of this vase also sought to imitate the 'heaping and piling' effect of the celebrated 15th century blue and white wares through a deliberate application of darker and denser spots of cobalt on the design. Compare with a related blue and white vase, Qianlong seal mark and of the period, in the collection of the Nanjing Museum, illustrated in Treasures of the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl.233; see also another blue and white vase, with Qianlong seal mark, in the Shanghai Museum, illustrated in The Complete Series on Chinese ceramics, Shanghai, 2000, vol.15, pl.2; see also four related blue and white vases, Qianlong seal marks and period, illustrated by R.Krahl, Chinese Ceramics in the Topkapi Saray Museum, vol.3, London, 1996, pl.2564.Compare with a similar blue and white vase, Qianlong seal mark and of the period, which was sold at Sotheby's New York, 17 March 2021, lot 147.For further information on this lot please visit Bonhams.com

A RARE MING-STYLE BLUE AND WHITE LOTUS-SCROLL BOTTLE VASEQianlong seal mark and of the periodThe globular body painted in rich cobalt-blue with a wide band of scrolling lotus above a collar of upright lappets, the spreading foot encircled by a classic scroll, the shoulder with further lotus, ruyi and key-fret bands, the tall waisted neck with upright leaves below a ruyi band and wave band at the rim.37.5cm (14 3/4in) high. Footnotes:清乾隆 青花纏枝蓮紋賞瓶青花「大清乾隆年製」篆書款Provenance: an English private collection來源：英國私人收藏The present lot is decorated with early Ming dynasty-inspired motifs. Furthermore, the potter of this vase also imitated the mottled 'heaping and piling' effect of the celebrated early Ming blue and white wares through a deliberate application of darker and denser spots of cobalt. A related blue and white vase, Qianlong seal mark and of the period, is in the Nanjing Museum and illustrated in Treasures of the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p.233. Four similar blue and white vases, Qianlong seal marks and of the period, are illustrated by R.Krahl, Chinese Ceramics in the Topkapi Saray Museum, vol.III, London, 1996, pl.2564.Compare also with a very similar blue and white vase, Qianlong seal mark and of the period, which was sold at Sotheby's New York, 17 March 2021, lot 147.For further information on this lot please visit Bonhams.com

A PARCEL-GILT-BRONZE 'MYTHICAL BEASTS' VASE, GU17th centuryFinely cast with a globular body rising from a spreading foot to a tall flaring neck, decorated around the exterior in medium relief with a continuous scene of various mythical animals amidst crashing waves highlighted in gilt. 19cm (7 1/2in) high. Footnotes:十七世紀 銅局部鎏金海瑞獸紋花觚The present lot is remarkable for the range and diversity of the mythical creatures depicted. The design harks back to earlier related depictions during the Ming dynasty: see for example a blue and white bowl, Xuande, with similar decoration of mythical creatures over waves, illustrated by Chen Ching-kuang, 'Sea Creatures on Ming Imperial Porcelain', The Porcelains of Jingdezhen, London, 1993, pl.1, where it is suggested that this motif may be related to the auspicious creatures described in the Shanhai jing (山海經), a mythical geography of China and the known world, dated to the Eastern Zhou/Han dynasty. It is possible that such designs were inspired by woodblock illustrations from this classic. Although bronze vases of this type are rare, similar decoration can be seen on blue and white porcelain; see for example a blue and white bowl, Wanli, with similar decoration of mythical beasts on water, in the Shanghai Museum and illustrated by Lu Minghua, Qingdai guanyao ciqi, Shanghai 2007, pl.1-83.Compare with a related parcel-gilt bronze vase, 16th/17th century, but decorated with various scholarly objects, illustrated by Sydney L.Moss Ltd., The Second Bronze Age: Later Chinese Metalwork, Hong Kong, 1991, no.92.For further information on this lot please visit Bonhams.com

A MANCHU WOMAN'S RED-GROUND GAUZE SILK EMBROIDERED ROBE, CHANGYILate 19th century The robe finely embroidered in satin stitch on the front and back panels with various sprigs of wisteria, depicted in the form of various cascading blooms, interspersed with multi-coloured fluttering butterflies, the insects repeated on the collar and cuffs alternating with blossoming peonies and prunus, all picked out in vibrant shades of pink, blue, turquoise and green against a coral red ground, the black border decorated with fish swimming in a lotus pond. 136.5cm (53 6/8in) long.Footnotes:十九世紀晚期 紅地納紗繡花蝶紋敞衣Provenance: an English private collection來源：英國私人收藏Elegantly tailored with narrow sleeves and wide borders, and embroidered with designs of flowering wisteria, the present robe is replete with auspicious symbolism conveying wishes for long life and displays the typical fashion trends followed by young Manchu noblewomen associated with the Court of the Empress Dowager Cixi. Clothing was a critical means of self-expression for the empress dowager and every other woman at the Court. Her fondness for auspicious designs was in line with the visual culture of the time and the decorative subjects on the garments were often based on paintings attributed to the Dowager. The blossoming prunus is both symbolic of fortitude, since it blossoms in the depths of winter, as well as longevity, and the inclusion of butterflies die reinforces the idea of long life, as it is a homonym for a septuagenarian or octogenarian. Symbolic of longevity because of the length of their blossoms and their stems, the wisteria was a highly-favoured flower by the dowager empress and became the main decorative subject of numerous paintings attributed to the Empress, robes and Dayazhai porcelain wares, named after the Hall within the Forbidden City where the Dowager Empress lived. A 1903 oil portrait of Dowager Empress by American artist Katherine Augusta Carl, in the collection of the Palace Museum, Beijing, depicts the Empress seated on a throne, wearing a yellow-ground robe decorated with a profusion of blossoming wisteria.Compare with a related green-ground silk gauze robe, circa 1900, embroidered with wisteria, butterflies and peonies, illustrated in Secret Splendors of the Chinese Court. Qing Dynasty Costume from the Charlotte Hill Grant Collection, Denver, 1981, no.1977.212. See also a coral-red ground silk robe, 19th century, decorated with butterflies and peonies, illustrated by Valery Garrett, Chinese Dress: from the Qing Dynasty to the Present, Claredon VT, 2008, fig.82.A related purple-ground silk robe, late 19th century, embroidered with butterflies and floral sprigs, was sold at Christie's New York, 19 March 2008, lot 93.For further information on this lot please visit Bonhams.com

AN OLIVE-GREEN-GLAZED VASENorthern Qi/Sui DynastyOf elegant pear shape rising from a short tapered foot to a tapered neck terminating with a bulbous mouth, with four double-bow strings across the body, covered overall in a light-green glaze turning to amber-brown. 17.3cm (7in) high. Footnotes:北齊/隋 青釉弦紋蒜頭瓶The result of Oxford thermoluminescence test number TL test C206g43 (8 January 2007) is consistent with the dating of this lot. 本拍品經牛津熱釋光檢測編號C206g43(2007年1月8日)，結果與其斷代相符Provenance: Roger Keverne Ltd., LondonA British private collectionPublished, Illustrated and Exhibited: Roger Keverne Ltd., Winter Exhibition, London, 2007, no.25來源：倫敦古董商Roger Keverne Ltd.英國私人收藏展覽著錄：Roger Keverne，《冬季展覽》，倫敦，2007年，編號25A related vase is illustrated by E.B.Avril, Heavenly Earth: Early Chinese Ceramics from the Shatzman Collection, Ithaca, NY, p.59, no.54. See also two related examples, Sui dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Jin and Tang Dynasties, Hong Kong, 1996, nos.65 and 68.For further information on this lot please visit Bonhams.com

A Chinese porcelain jardinière, painted with birds and flowers, height 37cm, diameter 41cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A collection of Chinese vases, Japanese tea sets, Continental china and porcelain items, with a 1950's table lamp (Q)

A 19th century Chinese porcelain dog on a plinth

A boxed Famille Jaune eggshell porcelain Chinese bowl with 5-claw dragon, Republic era, seal mark to base

A Chinese famille verte porcelain bowl, Qing Dynasty, late 19th century, decorated with equestrian soldiers and a scholar at his desk, artemisia leaf mark in red, 21.3cm diameter, 8.5cm high a.f Further details: 12cm two piece arc fracture with crude restoration (see photograph), some wear to paint on rim, pitting to body, old label verso, no apparent chip or crack to foot rim  

A CHINESE BLUE AND WHITE PORCELAIN DOUBLE GOURD VASE, PROBABLY KANGXI/QIANLONG decorated with auspicious symbols and varying decorative panels of birds, strapwork, basket weave, etc, unglazed base. Height 22.2cmGlazed-over factory flaw to the rim but otherwise in very good condition.

Various 19th century and later ceramics to include a Japanese egg shell porcelain teaset, a Chinese blue and white 'rice' pattern part dinner set and a pair of Japanese Satsuma bottle vases. H.3 W.25 D.25cm

Three Chinese polychrome porcelain Immortal figures, together a Chinese Blanc de Chine porcelain figure of Guan Yin. H.33 W.17 D.11cm

A mid 18th century Chinese café au lait blue and white porcelain saucer dish, decorated with flowers in a rock garden, bearing Christies label for the Nanking Cargo auction, lot 5247 verso. Diam.12cm

A 20th century Chinese porcelain shaped bowl, decorated in the Canton style, together with a Japanese porcelain saucer dish decorated with peaches and a Chinese red ground porelain hot water jug with 'bamboo' handle and decorated with flowers. H.11 W.25 D.25cm Largest

A Chinese porcelain baluster shaped vase decorated with panels of figures in a garden within floral background, raised on pierced hardwood stand. H.68 W.26 D.26cm (damaged)

A Chinese porcelain table lamp; with all over gilt painted scroll decoration on green ground; raised on hardwood base with four feet H.41cm

A RARE AND IMPORTANT SILVER-INLAID BRONZE FIGURE OF GUANYINHe Chaozong seal mark, late Ming DynastyThe exquisitely cast Goddess of Mercy standing on swirling clouds, swaying gently, her left hand gently resting on her right wrist, both elegantly raised with her fingers beautifully coiled, the benevolent facial expression with her eyes downcast in affectionate and meditative contemplation, her flowing robes inlaid with silver-wire patterned as continuous foliate lotus scrolls, cascading down to her feet, draped around the shoulders and open to reveal the chest with a beaded necklace attached with a ruyi fungus pendant, the back with seal mark. 60cm (23 1/2in) high.Footnotes:明晚期 銅嵌銀絲觀音立像「何朝宗印」篆書款Published and Illustrated: Michael Goedhuis, Chinese and Japanese Bronzes A.D.1100-1900, London, 1989, no.7.展覽著錄：Michael Goedhuis著，《Chinese and Japanese Bronzes A.D.1100-1900》，倫敦，1988年，編號7 The present silver-inlaid bronze figure of the Goddess of Mercy is rare and only a few bronze figures of Guanyin of comparable size with similar hand gestures, dated to the Ming dynasty, seem to be recorded. The present lot also exhibits a similar thickness of the silver wire inlay, typical of late Ming dynasty bronzes. Whereas the silver inlay on later examples is usually much thinner. See three similar silver-inlaid bronze figures of Guanyin, Shisou marks, Ming dynasty, in the Qing Court Collection, illustrated in Classics of the Forbidden City: Guanyin in the Collection of The Palace Museum, Beijing, 2012, pls.43-45. Compare also with a 16th/17th century silver-inlaid figure of Guanyin, with two-character 'Shisou' mark, which was sold at Bonhams Hong Kong, 27th May 2021, lot 27; and another silver-inlaid bronze figure of Guanyin, with four-character 'Yutang Shisou' mark, Qing dynasty, which was sold at Christie's Hong Kong, 28th May 2014, lot 3529.He Chaozong was a celebrated early 17th century potter who specialised in blanc de Chine wares. Indeed, one can see a related blanc de Chine figure of Guanyin, He Chaozong mark, Ming dynasty, in the Qing Court Collection, illustrated in Dehua Wares Collected by the Palace Museum I, Beijing, 2016, pp.43-45. One of the possibilities is that the bronze Guanyin was directly modelled after the blanc de Chine example. This is not unique; see for example, a related rare and large silver-inlaid bronze figure of Buddha, with inlaid He Chaozong seal mark, which was sold at Bonhams London, 11 May 2017, lot 108. The various examples of bronze and porcelain figures of Guanyin from this time related to the increased demand due to the spread of the Guanyin cult from the late Ming period onwards. This may in part have been spurred by images and statues of the Virgin Mary which were brought to China following Spanish and Portuguese presence in the region in the 16th century from Macau and the Philippines; indeed, there are striking similarities between ivory carvings of Guanyin and Christian iconography; see for example, an ivory carving of Guanyin with a boy in her arms, Ming dynasty, illustrated in Ming and Qing Chinese Arts from the C.P.Lin Collection, Hong Kong, 2014, p.297, no.179. Ultimately however, Guanyin was seen as a compassionate saviour who hears the woes of humankind, regardless of age, gender, or social class. Guanyin became a popular intercessor for humanity to understand divine salvation. In times of increasing political instability and social flux such as the late Ming period and early Qing era, Guanyin would have been a source of comfort for many on the margins of society. As the 'Bestower of Sons', Guanyin was venerated by women who sought to have sons of their own. In Confucian China, women were expected to stay within their domestic spaces, where such personal devotional objects offered opportunities to interact intimately with the divine. Perhaps the increased demand for bronze and porcelain statues reflects the growth of small household shrines, that would have allowed people to create a direct link as the faithful sought to emulate and aspire toward this image of divine compassion and motherhood.Due to the development of metallurgical technology, Ming dynasty bronzes ranked among the most exquisite and admired products of China's so-called 'second bronze age'; see China's Renaissance in Bronze: The Robert H.Clague Collection of Later Chinese Bronzes 1100-1900 , Phoenix, 1993, p.11. The present lot encapsulates the high level of craftsmanship achieved at the time.For further information on this lot please visit Bonhams.com

A BRONZE 'ARROW' VASESong/Yuan Dynasty Of archaistic form, the globular body cast with four edges and rising to a galleried square mouth rim, all supported on a spreading foot, the neck flanked by a pair of tubular handles cast with a leiwen ground, the upper neck with a band enclosing archaistic motifs against a leiwen ground, the body similarly cast with two further registers enclosing archaistic designs, the bronze patinated to a dark coppery-brown tone. 21.7cm (8 1/2in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價宋/元 銅夔龍紋貫耳方壺Provenance: Ulrich Hausmann collectionSotheby's Hong Kong, 7 October 2014, lot 3385.來源：Ulrich Hausmann 舊藏香港蘇富比，2014年10月7日，拍品編號3385The present lot's archaistic form, made for the altar or scholar's study, can be found in porcelain. For a closely related bronze 'arrow' vase of similar archaistic design, recently excavated from a chamber beneath the Zhenhai Pagoda, built in 1321 at Haiyan in Zhejiang Province, see R.Kerr, 'Rethinking some Later Chinese Bronzes' in Arts of Asia, Nov-Dec, 2013, pp.91-92, where she notes that the scholars who wrote up the excavation report considered the delicate bronze vessels of Song/Yuan date, such as the one mentioned above, to be among the most valuable relics in the 47 groups of objects.For further information on this lot please visit Bonhams.com

LI HUAYI (b.1948)Landscape, 2010-2011Ink on paper, signed on the bottom right, framed and glazed. 180cm high x 91cm wide (71in high x 36in wide). Footnotes:李華弌(1948年生) 山水 水墨紙本 鏡框 2010-2011年作Published, Illustrated and Exhibited: Michael Goedhuis, The Ink Art of China, London, 2019, pp.18-19. 展覽著錄：Michael Goedhuis著，《水墨中國》，倫敦，2019年，第18-19頁Li Huayi is internationally renowned for his meticulously detailed landscape paintings that are reminiscent of masterworks from the Song dynasty (960–1279). He was born in Shanghai in 1948. As a child, Li began studying ink painting with a family friend, Wang Chuantao (1903-1978), as well as Western-style painting with Zhang Chongren (1907-1998), who had trained at the Royal Academy of Arts in Brussels. Li was thus trained well in the technical skills of European painting and traditional Chinese painting. Li can thus be said to have inherited Shanghai's cosmopolitan past. As a young man growing up in China during the Cultural Revolution, however, artists and art students were expected to produce the Socialist Realist propaganda images demanded at the time. By the time the Cultural Revolution ended following the death of Mao Zedong in 1976, young artists were eager to experiment and develop new ideas about making art. The open-door policy initiated in 1979 opened up new possibilities and in 1982, Li Huayi emigrated to the United States to find an art world in transition from abstraction to post-modernism. During his graduate studies at the Academy of Art College in San Francisco, he began to concentrate on subtle abstract compositions, unlike anything he had attempted in China. After a decade in San Francisco, Li Huayi's artistic experimentation and transformation bore fruit. Li travelled to China's famous mountains and to the Buddhist caves of Dunhuang, as a means of rejuvenating his art through the inspiration of natural beauty. He once again turned his attention to the classical masterpieces of Chinese landscape painting - in particular the masters of Northern Song dynasty monumental landscape painting such as Fan Kuan (c.960-1030), Li Cheng (919-967), and Guo Xi (c.1020-1090); see Eskenazi Ltd., Waterfalls, rocks and bamboo by Li Huayi, London, 2014, p.11.Li Huayi's careful study of the classics of Chinese and European painting, as well as the modern American practice of abstraction, yielded paintings that are at once firmly rooted in the history of Chinese art and instantaneously meaningful to contemporary viewers. As Li said himself: I began to incorporate elements from traditional Chinese arts in my own works. Tradition is the spiritual core of every form of Chinese art – porcelain, pottery, rubbings, carvings, everything. But each of these arts also contains an abstract side; see M.Knight, The Monumental Landscapes of Li Huayi, San Francisco, 2005, p.2.The solid pine, the mist that both divides and unites the mountain peaks, the overhanging cliff, the tree clinging to rocky precipices, all echo the most potent motifs of Northern Song painting. Li's synthesis of styles is achieved through fastidiously rendered brushstrokes and a unique sense of composition that is inspired by the past and wholly his own. The dreamlike contrasts of pale mist and dark mountain cliffs also resemble works of the seventeenth century artists of the weird and fantastic, most notably Wu Bin (1573-1620) and Gong Xian (1618-1689), who created bizarre images of completely impossible mountains and rocks. The meticulously detailed trees and rocks in Li Huayi's paintings are convincingly naturalistic, but they are placed in impossibly dangerous mountain settings. Clearly imaginary, they are powerfully persuasive.Li applies ink on the paper first, and then allows the composition to take shape in response to the density of the ink. This element of chance brings his work close to late or post-modernist ideas. His success at unsettling or disturbing the viewer seems grounded in our shared conviction that the universe is indeed an orderly one and that both artist and viewer share this knowledge. This order, so well understood and recreated by the great landscapists of the Song dynasty, has in the artist's work, slipped only temporarily out of our grasp, like an interrupted dream. As modern as they are antique, these paintings persuade us that they are part of a cosmic whole and that they exemplify a universal harmony.Li Huayi's paintings are in many prestigious museums across the world, including the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the National Museum of Tokyo; and Brooklyn Museum, New York. See a related landscape painting by Li Huayi, painted in 2008, which was sold at Christie's New York, 10 November 2022, lot 180.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Chinese Qing dynasty blue and white porcelain bowl, 18th century, with butterfly and melon design to the inner centre with butterfly and foliage frieze rim, the body with naturalistic composition, on a short foot with four character mark, 21.5 cm diameterCondition report: chips to the rim, some pitting, three hairline cracks to rim, light staining to inner bowl, wear consistent with age. Location:8.3

A mixed lot to include a collection of glassware including coloured glass, decanters, along with a ship in a bottle and a Chinese export Ming style blue and white porcelain footed dish, 5.5cm h x 12.5cm wLocation:

A CHINESE QING DYNASTY SANG DE BOEUF PORCELAIN BRUSH WASHER, six-character mark to base, 13cm diameter.

A CHINESE RED GLAZE PORCELAIN VASE, the base with six-character mark, 25cm high.

AN EARLY 20TH CENTURY CHINESE BLUE AND WHITE PORCELAIN BOWL, painted with landscape scenes, with four-character mark to base, 20cm diameter.

A SMALL CHINESE CIRCULAR PORCELAIN EROTIC BOX.

A CHINESE FAMILLE VERTE PORCELAIN BRUSH POT, painted with figures in an outdoor setting, 14cm high.

A CHINESE FAMILLE ROSE PORCELAIN CHARGER, enamel painted with birds and native flora, 35cm diameter.

A LARGE CHINESE BLUE AND WHITE PORCELAIN MOON FLASK DRAGON VASE, bearing six-character mark, 44cm high.

A PAIR OF CHINESE FAMILLE ROSE PORCELAIN BOWLS, the exterior painted with coral red fish, the interior with blue and white sprays of flora, each with Daoguang mark to base and possibly of the period, 14.5cm diameter.

AN EARLY 20TH CENTURY CHINESE BLUE AND WHITE PORCELAIN BRUSH POT, decorated with figures, 17cm high.

A LARGE CHINESE DOUCAI PORCELAIN CHARGER, (af), 44cm diameter.