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Click here to subscribePALE CELADON JADE GOAT DEITY QING DYNASTY, 18TH CENTURY depicting one of the Chinese zodiac animals, the upright-seated bearded goat with human-form body in incised robe, holding a scroll with his left hand against the chest, horns curved backwards, the stone of even translucent pale celadon colour (Dimensions: 5cm high) (Qty: 1)(5cm high)Qty: (1)
RARE CINNABAR LACQUER 'RUYI CLOUD' CIRCULAR BOX QING DYNASTY, QIANLONG MARK AND OF THE PERIOD the domed cover crisply carved with gradually larger bands of ruyi-shaped cloud motif, centripetally arranged and faced except the border, carved and gilded to the underside with 'Pan Yun Bao He' (The Treasure Box of Ruyi Cloud), the box decorated further with two bands of counter facing ruyi cloud before the short straight foot, the base carved to the centre with a six-character Qianlong mark filled with gilt, all interior and base covered in black lacquer (Dimensions: 21.2cm diameter) (Qty: 1)(21.2cm diameter)Qty: (1)Footnote: Provenance: Cape Town de Smidt family collection, by direct family descent. The de Smidt family, originally from Middelburg in Zeeland, was one of the first families moved from the Netherlands to Cape Town, South African. With an original letter and envelope from Ambassade der Nederlanden (Embassy of the Kingdom of the Netherlands) to Mr Reg. de Smidt A.R.I.B.A (1899-1968) dated to 10th May 1954, including the translation of two marks on the box (illustrated). The current owner has seen this box in his grandmother Sussan Margaret de Smidt's (1912-2000) house when he was a toddler. Lot essay: Lacquer is an organic material that is made from the excreted sap of the lacquer tree (Rhus verniciflua). It was first produced in the Shang Dynasty (1600–1046 BC) and widely applied on utensils with a wood or metal core in the Eastern Zhou Dynasty (771–256 BC). Carved lacquer of the Southern Song (1127-1279) and Yuan (1271-1368) periods often feature a newly invented abstract geometric design- ruyi cloud motif, or also known as ‘pommel scroll’ for it resembles the shape of the ring-pommel on early Chinese sword.[1] The design of carving with rows of ruyi cloud pattern often involved with intermittent red and black lacquer layers, known as tixi technique (meaning ‘marbled lacquer’), and rarely found in single colour lacquer as seen on the current example. It has generally been used as a synonym for guri lacquer, a Japanese term describing the spiral designs.[2] A rectangular cinnabar lacquer dish with closely comparable deeply carved ruyi-cloud pattern on the whole dish, dated to the Qing dynasty 18th century, was in the Qing Court collection and now is in the National Palace Museum, Taipei (museum number Gu Qi 故漆141). In the same collection, there are six smaller cinnabar lacquer circular boxes, similarly bear two gilded marks with a 'Pan Yun Bao He' mark on the underside of the cover and a six-character Qianlong mark on the base of the box, but differently carved with swirling cloud pattern around the body (museum number Gu Qi 故漆60-63, 277, 278). A square tixi box carved overall with ruyi-cloud pattern with layers of intermittent black the yellow lacquer, inscribed with gilded Qianlong mark and of the period, is in the collection of the Palace Museum, Beijing.[3] [1] Watt, J.C.Y, and Ford, B, East Asian Lacquer, The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991歐p. 27 [2] Lee King-tsi and Hu Shih-chang, ‘On Chinese Tixi Lacquer’, Orientations, September 1993, vol. 24, no. 9, pp. 65-68. [3] Palace Museum online collection archive: https://www.dpm.org.cn/collection/lacquerware/234528.html
A pair of Satsuma tall slender vasesBy Yozan, Meiji era (1868-1912), late 19th/early 20th centuryBoldly decorated in enamels and gilt with an almost identical design, the squat circular body with four elaborate overlapping panels enclosing a large number of karako (Chinese boys) surrounding a kakejiku (hanging scroll) at New Year and a pheasant beside flowering fuyo (rose mallow) at the water's edge, connected by two smaller panels of peonies on a ground depicting flocks of tanchozuru (red-headed cranes), the tall neck with a ho-o (phoenix) in flight among stylised foliate medallions and paulownia; signed just above the foot in gilt Dai Nippon Kyoto Yozan sei. Each vase 32cm (12½in) high. (2).For further information on this lot please visit Bonhams.com
A Satsuma slender ovoid vasePainted by Sozan for the Kinkozan workshop, Meiji (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt, the body with two tall rectangular panels enclosing the Rokkasen (Six Immortal Poets), Ono no Komachi, the female of the group, seated beside Sonjo Henjo standing behind a floor screen embellished with a Chinese landscape, from left to right Ariwara Narihira, Kisen Hoshi, Otomo no Kuronushi, reading a scroll and Fumiya no Yasuhide, the second panel showing an elegantly clad group of ladies enjoying the hanami (cherry-viewing) season, on a blue-midnight ground of trailing cherry blossoms, each panel signed with a seal Sozan, the base signed with an impressed seal Kinkozan tsukuru. 25.6cm (10in) high.For further information on this lot please visit Bonhams.com
A group of 22 various netsukeEdo period (1615-1868) or Meiji era (1868-1912), late 19th to early 20th centuryComprising: two of professional sneezers, one seated with his right hand raised and holding a tickler, the head stretching to the front with the eyes closed and mouth open wide, the other smaller piece signed Gyokumin on an ivory tablet, 3.9cm (1½in); the larger example signed Gyokkei with a kao, 5cm (2in); the third a recumbent piebald puppy, unsigned, 3.5cm (1 3/8in) wide; the fourth a piebald cat clambering over an upturned bucket, signed Norimasa, 4.2cm (1 9/16in) wide; the fifth a recumbent ox, unsigned, 6cm (2 3/8in) wide; the sixth a cicada crawling over two hozuki (Chinese lantern fruits), unsigned, 5.1cm (2in) wide; the seventh an oni lying asleep with a straw parasol strapped on his back, signed Hoichi, 5.1cm (2in) long; the eighth a plaque converted into a brooch of a rakan seated at a table with a hossu (fly whisk) and surrounded by eight oni, unsigned, 4.7cm x 6.5cm (1¾in x 2½in); the ninth an okimono of a monkey with one arm outstretched, unsigned, 4cm (1½in) ; the tenth a monkey trainer, the monkey on his shoulder, unsigned, 5.2cm (2in) high; the eleventh Hotei carrying a karako (Chinese boy) on his back, signed Mitsumasa, 5.7cm (2¼in) high; the twelfth a cluster of seven Kyogen masks, signed Gyokuunsai, 3.7cm x 3.7cm (1 3/8in x 1 3/8in); the thirteenth Fukurokuju patting the back of a Chinese boy at his feet, signed Mitsumasa, 4.2cm (1 5/8in) high; the fourteenth and fifteenth, two identical miniature masks of Daikoku, both signed Koichi, 3.2cm (1¼in); the sixteenth Gama sennin with two frogs, signed Shunzan, 5.4cm (2 1/8in) high; the seventeenth Kanzan holding a long scroll, signed Tomochika, 4.6cm (1¾in) high; the eighteenth Hotei seated on a fan, hiding a mask behind his back and gesturing Bekkanko, signed Minkoku, 3.8cm (1½in) wide; the nineteenth a man pounding mochi (rice cakes), signed Masayuki, 4.6cm (1¾in) high; the twentieth Ashinaga and Tenaga playing kubihiki, Tenaga sitting on a high stool and pulling the rope around their necks, signed Minkoku, 4.7cm (1 7/8in) high; the twenty-first a walrus tusk okimono of two foreigners, 4.3cm (1 5/8in) high; the twenty-second an itinerant performer, wearing a mask and holding a gohei (Shinto paper sceptre), unsigned, 4.5cm (1¾in) high. (22).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
TSUTAKA WAICHI (1911-1995)Showa (1926-1989) or Heisei (1989-2019) era, late 20th centurySakuhin (Work); calligraphic abstract painting, ink on paper mounted in silk as a kakejiku (hanging scroll), signed Waichi in hiragana and sealed Waichi in Chinese characters; with a wood storage box and cardboard slipcase. Overall: 155cm x 65cm (61in x 25 5/8in); image: 56cm x 43cm (22 1/16in x 16 15/16in). (3).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
TSUTAKA WAICHI (1911-1995)Showa (1926-1989) or Heisei (1989-2019) era, late 20th centurySakuhin (Work); calligraphic abstract painting, ink on paper mounted in silk as a kakejiku (hanging scroll), signed Waichi in hiragana and sealed Waichi in Chinese characters; with a wood tomobako storage box inscribed outside Sakuhin (Work) and signed and sealed in Chinese characters on the reverse of the lid Waichi; with a cardboard slipcase. Overall: 147.5cm x 65.5cm (58 1/16in x 25¾in); image: 52.5cm x 43.5cm (20¾in x 17 1/8in). (3).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 cloisonné enamel 'bajixiang' box and coverLate Ming DynastyThe slightly domed cover enamelled in the centre with a medallion enclosing a Sanskrit letter om, surrounded by the auspicious Eight Buddhist Emblems amongst stylised floral scrolls on a bright turquoise ground, the vertical sides of the cover decorated with a multi-coloured band of ruyi-heads borne on foliate scroll, a similar band of floral scrolls on the side of the box. 20.4cm (8in) diam. (2).Footnotes:明晚期 掐絲琺瑯八吉祥紋圓蓋盒A related combination of the Eight Buddhist Symbols, bajixiang, and scrolling lotus can be seen on a smaller cloisonné enamel circular box and cover (11.4cm diam.) with a Jingtai mark in the Uldry Collection, see H.Brinker and A.Lutz, Chinese Cloisonné: The Pierre Uldry Collection, Zürich, 1985, no.79. The more generous dimensions of the present lot allow for the addition of a central medallion containing the meditative 'om' character, further enhancing the Buddhist theme of the piece.For further information on this lot please visit Bonhams.com
An imperial cloisonné and champlevé enamel 'phoenix' ice chestQianlong/JiaqingOf square section with straight sides tapering to the base, divided into three horizontal registers by two raised ribs, the middle section enamelled with shou medallions within a foliate sunburst, flanked by a pair of formal lotus flowers, the top and bottom registers each with pairs of confronted red phoenixes centred on a blue bat grasping a wan character in its mouth, all reserved on a dense foliate turquoise-blue ground, two sides set with gilt-bronze C-shaped handles, the interior with a fitted metal liner, wood stand. 34 x 68 x 68 cm (13 3/8 x 26 7/8 x 26 7/8 in) (2).Footnotes:清乾隆/嘉慶 御製銅胎掐絲及內填琺瑯福壽瑞鳳紋冰盒Provenance: a European private collection, acquired from Anna Puchar del Bello in 1968, who inherited it from her father, a captain on a Trieste-based merchant ship that often travelled to the Asia.來源：歐洲私人收藏，現藏家於1968年購自一名往返於意大利里雅斯特與亞洲間商船船長之女，Anna Puchar del BelloImpressive in size and its magnificent detailed design, the decorative combination of auspicious motifs such as phoenixes, bats and shou characters on a dense foliate scroll indicate that it most likely was intended for the emperor's chambers. A related cloisonné enamel ice chest, Qianlong mark and of the period, but decorated with foliate lotus scrolls, is illustrated in The Complete Collection of Treasures of the Palace Museum: Metal-bodied Enamel Ware, Hong Kong, 2002, pl.129.Ice chests were filled with ice and used in the Qing palaces during the hot summer months to cool drinks and food, as well as cooling the surrounding area. In winter ice blocks were cut from the Inner Golden River and were stored in the five ice vaults in the Forbidden City near the Gate of the Great Ancestors. During the period from the first day of the fifth month to the twentieth day of the seventh month specific members of the imperial Household Department received an allocation of two blocks of ice per day. The pierced covers of the ice box allowed cool air to escape, which would then be fanned into the rooms by servants. Large ice chests of this type derive from wooden prototypes lined with a metal such as lead; see an example in the Victoria and Albert Museum, London, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.99, pl.89. The form and horizontal gilt-metal ribs are examples of the original wooden structure that have been retained, along with the transportable nature of these chests represented by in the sturdily-constructed handles.Compare with a related cloisonné enamel ice chest, Qianlong, which was sold at Christie's New York, 20 0ctober 2004, lot 601.This lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Yan Bolong (1898-1954)White Goose Hanging scroll, ink and colour on paper, with signature and seals of the artist. 116.5cm (46in) high x 51cm (20 1/8in)wide.Footnotes:顏伯龍 白鵝 紙本設色 立軸裝裱In the early years of the Republic of China, the painting world experienced a collision between traditional Chinese ways of painting and Western ways of painting. The Xuannan Painting Society, Songfeng Painting Association, Peking University Painting Research Association, Chinese Painting Research Association, Lake Society and other painting organisations came into being in Beijing, whereby 'refining ancient methods and learning new knowledge' became the consensus. Yan Bolong was one painter whose style merged Chinese and western techniques.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lu Yanshao (1909-1993)Three Friends of Winter, 1978 Hanging scroll, ink and colour on paperInscribed and signed Lu Yanshao, with four seals of the artist. 109.5cm (43⅛in) high x 50.5cm (19⅞in) wide.Footnotes:陸儼少 松石梅花圖 紙本設色 立軸裝裱 一九七八年作Lu Yanshao was a painter who struck a balance in his work between the meticulous skill of the orthodox 'Four Wangs' of the Qing dynasty and the building of spontaneous brush strokes. In 1927, Lu Yanshao studied poetry and calligraphy with Wang Tongyu, and then painting with the Shanghai painter Feng Chaoran. In 1938, Lu held his first exhibition. In 1955 he began to teach at the Chinese Painting Academy in Shanghai. The present lot has the following inscription:'疏枝橫玉瘦，小萼點珠光。一朵忽先變，百花皆後香。陳亮梅花詩。一九七八年八月，陸儼少畫。'Which may be translated as:'The sparse branches like slender jade, the little blossoms like lustrous pearls; A flower suddenly transforms, the myriad flowers follow in fragrance. Chen Liang's Poem on the Plum Blossom. Eighth month of 1978, painted by Lu Yanshao. Seals: Lu, Yanshao, Jiading, Yanshao Wuyang鈐印：陸、儼少、嘉定、儼少無恙For further information on this lot please visit Bonhams.com
A large famille verte 'dragon boat' rouleau vase19th centuryThe cylindrical body beneath a straight neck and everted rim, finely decorated around the exterior with a continuous scene of court ladies tugging a large dragon-boat carrying the Sui emperor Yang along a canal by a large palace with further ladies gazing from the window, the shoulder with floral scroll, the neck with various auspicious objects and Immortals. 79.5cm (31 3/8in) high.Footnotes:十九世紀 五彩龍舟出行圖大棒槌瓶Emperor Yang (AD569-618) of the short-lived Sui dynasty (AD581-618), is perhaps best known for having reunited China through military might and completing the extraordinary engineering feat of the Grand Canal. This canal, which still exists to this day, connected the Huai river in the north with the Qiantang river in the south and greatly helped economic growth and prosperity. Apart from his military and engineering achievements, Emperor Yang is infamous for his extravagant behaviour. According to some records, when the canal was completed in AD609, Emperor Yang floated 65 miles on the canal in a large, expensive dragon boat pulled by hundreds of his most beautiful palace ladies and followed by a flotilla containing musicians and entertainers. It was said that along the shore, sounds of merriment could be heard for a hundred miles. See Y.Ma and J.Lau, Traditional Chinese Stories: Themes and Variations, Boston, 1986, p.313. See also V.Xiong, Emperor Yang of the Sui Dynasty: His Life, Times, and Legacy, New York, 2012, pp.75-94.For further information on this lot please visit Bonhams.com
A very rare large court painting of ladies playing chessYongzheng/QianlongInk and pigment on silk depicting two Court ladies playing weiqi within a bamboo grove, each of the ladies with finely arched eyebrows and delicately painted strands of hair under ornate headdresses, clad in elegant loose flowing robes with exquisitely detailed hems, the black and gilt weiqi boxes and covers decorated with dense foliate scroll, the top right with a large apocryphal seal 'Jing ji shan zhuang' seal, glazed and framed. Including the frame: 155cm (61in) wide x 99cm (39in) high.Footnotes:清雍正/乾隆 宮廷繪畫 仕女對弈圖 絹本設色 鏡框裝裱Provenance: a distinguished Italian private collection formed circa 1930s-1940s, and thence by descentThe important Italian collector lived and worked in Shanghai between 1932 and 1936, as representative of his Italian company and in 1937, following the Sino-Japanese war, he was transferred to Dalian in Southern Manchuria. After a brief period spent in Italy in 1938, he returned to Shanghai where he lived between 1941 and 1946 and formed the vast majority of his collection of Chinese Art.來源：意大利顯赫私人收藏，約二十世紀三十至四十年代入藏，並由後人保存迄今該重要意大利收藏家曾於1932至1936年作為某意大利公司代表在上海工作生活，1937年日本侵華戰爭爆發後遷往大連，1938年在意大利短暫停留後又回到上海，此番在上海居住的1941至1946年間，他獲得了其絕大部分中國藝術品收藏。The most notable feature of the present lot is the remarkable similarity of the faces of the ladies with those in Yongzheng's famous Screen of Twelve Beauties in the Palace Museum, Beijing. Compare the faces and hems of the ladies with those in the Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor (hereafter abbreviated as Screen of Twelve Beauties), by anonymous court artists in the Late Kangxi period, illustrated in China: the Three Emperors 1662-1795, London, 2005, pp.258-259, no.173. The uncanny similarity of the faces painted in realistic style with neat outlines and generous colour, follows the custom of depicting ladies of the Court as women of elegance and natural grace, and strongly points to the courtly origin of this painting. The present lot closely follows the composition of another Imperial painted album, the Yue man qing you tu (月曼清遊圖) by Chen Mei 陳枚 (active in the early Qianlong reign), in the Palace Museum, Beijing. Painted in 1738, the album depicts the life of concubines over twelve months. One of the album leaves shows ladies playing chess in the exact same posture and position as the present lot, but within an interior. Therefore, one can see that the depiction of court ladies followed set models and precedents by court masters, which the present lot also follows. By examining further the Screen of Twelve Beauties, we may understand too the background of the present lot. While the Yongzheng emperor was still a prince, he commissioned the set of paintings of twelve beauties for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An Imperial garden to the northwest of Beijing, the Summer Palace, was presented to the young prince in 1709 by his father, the Kangxi emperor. However, an item found in the archives of the Imperial Household Department notes that in the eighth lunar month of 1732, ten years into Yongzheng's reign as emperor, the twelve paintings were removed from the screen and individually stored.Like the Screen of the Twelve Beauties, the present painting was also probably part of a larger screen or wall painting meant to decorate a palace. The apocryphal seal in the top right of the painting Jing ji shan zhuang (靜寄山莊), refers to an Imperial retreat in Panshan near Tianjin. Although the seal is apocryphal, it could refer to the original location where the present lot was from. Furthermore, like the Screen of the Twelve Beauties, the present lot was also at some point detached from a wall or screen and later cut into a more convenient and smaller section and re-mounted onto a different background. The format of the present lot is in keeping with 19th century practices of display; see for example J.Cahill, Pictures for Use and Pleasure: Vernacular Painting in High Qing China, 2010. The artist of this painting as well as the Screen of Twelve Beauties portrayed the imagined beauties enjoying traditional Han Chinese leisure activities such as playing chess or weiqi, sampling tea, watching butterflies, and reading, as well as showing them in quiet reflection. This view reflects the late Imperial Chinese model of femininity, where women could engage in the traditionally male 'Four Arts of the Scholar' (playing the guqin, calligraphy, painting, and chess) whilst still being refined, delicate and attractively feminine. See S.McCausland and Lizhong Ling, Telling Images of China: Narrative and Figure Paintings 15th-20th Century from the Shanghai Museum, London, 2010, pp.65-7. The Manchu rulers, seeking to define themselves as the proper heirs to the throne of China, could not have missed the support of female intellectuality that many found even within the conservative Confucian tradition. It would be tempting to suggest that the artist of the present lot also showcased the most popular costumes and hairstyles of Qing court women. However, it interesting to note that these ladies are dressed in the styles of the flourishing Chinese cultural centre of the Yangzi delta region, at a time when there were repeated Imperial efforts to block the growing Manchu tendency to take on Han Chinese folkways. The Qianlong emperor, like his predecessors an author of repeated prohibitions against Manchu adoption of Han dress - wrote that its appearance in one rendition of women attending the emperor was not to be taken seriously, dismissing it as 'painterly playfulness' (丹青遊戲); see J.Larsen, 'Women of the Imperial Household: Views of the Emperor's Consorts and their Female Attendants' in Proceedings of the Denver Museum of Natural History, no.15, November 1, 1998, p.24. One can surmise that the present lot and paintings like it, such as the Screen of Twelve Beauties and Yue man qing you tu, were following artistic conventions of the court rather than depicting the actual leisure garments of palace women. Indeed, one can argue that the present lot encapsulates a fantasy. Wu Hung presents evidence associating these paintings of imagined court ladies in Han dress with the feminised and sexualised landscape of China, now intimately known by the Manchu conquerors; see Wu Hung, 'Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber' in Ming and Qing Women and Literature, Stanf... This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A pair of hongmu and huali armchairs19th centuryEach with stepped toprails above upright backs with central splats carved and pierced with design of bat suspending fruiting peach branches within archaistic scrolls and flanked by key-fret designs, the wide elbow rests on similar archaistic scroll supports, over a solid seat and above splayed aprons with scroll details and mouldings leading to robust square-section supports with hoof feet. Each 101.5cm (40in) high x 89.5cm (35 1/4in) wide x 58cm (23in) deep (2).Footnotes:十九世紀 紅木花梨木扶手椅成對The present pair of armchairs exemplifies the influence of Western decorative designs on Chinese furniture during the Qing dynasty. The curling and upturning acanthus leaves of the backrests, blending elegantly within the interlocking designs of stylised chilong, were certainly drawn from the repertoire of Rococo art. Compare with four related hongmu chairs, Qing dynasty, which were sold at Christie's Hong Kong, 4 April 2017, lot 206.This lot is subject to the following lot symbols: TP YTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A hongmu hardstone-inset table19th centuryThe mottled hardstone panel of pink tone, supported on four cabriole legs issuing from beast-heads and terminating with claw feet, the elaborate frieze carved with shaped panels enclosing Chinese opera scenes, all surrounded by leafy tendrils, the wood with an attractive dark patina. 142cm (56in) wide x 82cm (32 1/4in) deep x 83.5cm (32 7/8in) high.Footnotes:十九世紀 紅木鏤雕人物故事圖嵌大理石桌The taste for floral and rococo style carving in furniture appears to have been particularly popular within the Qing Court. European-style floral scroll work can also be seen on the apron of a red sandalwood chair in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, pl.55A hongmu console table inset with a marble top, 19th century, carved with similar reticulated designs as the current table, was sold at Bonhams London, 7 November 2029, lot 165.See a related pair of hongmu table with marble inset, 19th century, which was sold at Christie's London, 8 November 2011, lot 291.This lot is subject to the following lot symbols: TP YTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A rare dingyao spittoon, zhadouNorthern Song DynastyThinly potted with a compressed globular body incised around the exterior with stylised lotus petals, the waisted neck surmounted by a wide flared mouth carved with further floral motifs, covered overall in a creamy-white glaze of ivory tone.22cm (8 5/8in) diam.Footnotes:北宋 定窰白釉劃蓮紋渣斗Provenance: Berwald Oriental Art, LondonProfessor Conrad Harris, UK, acquired from the above on 30 April 2002來源：英國倫敦古董商Berwald Oriental Art英國康拉德・哈里斯教授舊藏，於2002年4月30日購自前者Conrad Harris became interested in Chinese pottery in the late 1990s, around the time he retired as Professor of General Practice at Leeds University. Having moved from a career in medical academia, he took an academic approach to learning about the styles and artefacts of different periods, from the Neolithic to the great dynasties of China. Harris was a highly erudite collector, who travelled extensively in China, pursuing his interest in ancient pottery wares through many provincial museums. He gave regular lectures and, in 2002, gained a Diploma in Asian Art from the British Museum. He was an active member of the Oriental Ceramics Society and in the 2003/04 Oriental Ceramic Society Transactions, he contributed the lecture 'Chinese ceramic horses and how they changed'. Most importantly, he gained immense pleasure from seeing his collection take pride of place on the shelves all around his study.Dingyao zhadou vessels of this form are rare with very few published examples. See a related 'Ding' zhadou, in the collection of the Palace Museum, Beijing, similarly carved with lotus flowers borne on an undulating scroll on the wide rim but with a truncated cylindrical body, illustrated in The Complete Works of Chinese Ceramics, Shanghai, 1999, vol.7, Part 11, no.20. It is possible that the present lot is emulating a piece from the 'Yue' kilns in the south. See the 10th-11th century 'Yue' zhadou of similar form, with globular body carved with upright lotus petals and a wide rim incised with lotus scroll, in the collection of the National Museum of Korea, Seoul, illustrated in Sekai Toji Zenshu, Vol.12, Tokyo, 1977, pls.41-42.Zhadou of this form also exist in slightly later Qingbai wares. Compare with a Qingbai spittoon, Northern Song dynasty, in the Kai Yin Lo Collection, illustrated in Bright as Silver, White as Snow, Hong Kong, 1998, pl.29.For further information on this lot please visit Bonhams.com
A magnificent large very pale green jade 'stag and young' groupQianlongSuperbly carved as a large reclining stag with its head held high and turned sharply towards a smaller deer, the stag with long antlers extending down its neck, its legs tucked beneath its body, both deer clasping a large, leafy sprig with five lingzhi fungus heads in their mouths, the stone of a very pale green-white tone with russet patches, with silver-inlaid wood stand. 19cm (7 1/2in) long. (2).Footnotes:清乾隆 青白玉雕雙鹿銜芝擺件Provenance: Erwin Scharf (1904-1978), and thence by descentErwin Scharf (1904-1978) emigrated from Germany to Britain in the 1930s to escape Nazi persecution of the Jews. He graduated from the university of Leipzig with a doctorate in law but never practiced, rather going into the family business of manufacturing sound reproducing components. His brother, Dr Alfred Scharf was an art historian and it was he who encouraged Erwin's interest in art. 來源：Erwin Scharf（1904-1978）舊藏，並由後人保存迄今Erwin Scharf（1904-1978），二十世紀三十年代，為逃避納粹對猶太人的迫害，自德國移民英國。 Erwin畢業於萊比錫大學並獲法學博士學位，後加入製造聲音再現裝置的家族企業。其兄Alfred Scharf博士是一名藝術史學家，激發了Erwin對藝術的興趣。This group is of unusually large size for an animal carving of this period. Skilfully modelled in the round, the sturdy animals effectively contrast with the finely carved branches of lingzhi fungus that scroll around the larger deer to create a sense of movement. The quality of the carving and polish is also of the highest standard. Compare also with a related pale green jade three ram group, Qing dynasty, and a pale green jade carving of a stag and doe with lingzhi fungus, Qing dynasty, in the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade, Qing Dynasty, vol.9, Beijing, 2010, pls.143 and 145. See also a related jade recumbent deer with lingzhi in its mouth, Qing dynasty 1700s, in the Cleveland Museum of Art (acc.no.1952.498).Deer have a number of auspicious meanings in Chinese culture. Shoulao, the Star God of Longevity, is usually depicted accompanied by a spotted deer, crane, peach and pine tree. Thus each of these, including the deer, has come to represent long life. Deer are also believed to be the only animals that can find the fungus of immortality. In addition, deer may represent Luxing, the God of Rank and Emolument. The Chinese word for deer (lu 鹿), sounds like the word for emolument or an official salary (lu 祿), thus deer are symbolic of the rank and wealth that are associated with such a salary. The word for deer is also a homophone for 'road' and for 'six'. Thus two deer suggest two auspicious phrases: Lulu shunli, 'May all roads be smooth', and Liuliu dashun, 'May everything be smooth sailing'.Compare with a smaller white jade group of stag and doe with lingzhi, 18th century, which was sold at Christie's Hong Kong, 01 June 2011, lot 3561.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
A Japanese lacquered box, the hinged lid gilt decorated with bird perched upon branch, 5 x 17.5 x 15cm, an Imari octagonal dish, diameter 26.5cm, a set of embroidered textile panels featuring views of Japan, a Chinese Tek Sing Cargo bowl featuring underglaze floral and scroll decoration with Nagel Auctions label to underside (af), diameter 18.5cm, and an African ebonised carving.Additional InformationSome chips to lacquer on box, fritting, inclusions and imperfections to bowl, chip to Chinese bowl, fritting to rim, further general wear throughout.
A good Chinese export saucer, circa 1740, pencilled en grisaille with a seated maiden, a man and boy leaving her, a large tree behind, gilt scroll border, two applied paper labels, to the underside The Chinese Porcelain Co & Matthew & Elizabeth Sharpe Antiques,11.6cmCondition report: A 5mm stained hairline crack on the underside rim (at almost 6 if on a clock face). A tiny flea bite glaze nibble on the underside rim. A firing flaw. Some rubbing to a patch on the leaves above the female figure. Still rings out nicely when lightly tapped.
A pair of Chinese dogs of Fo, 20th century, each painted in bright enamels, one with a double gourd in its paw the other with an ingot, each with impressed character marks, purchased by the vendors in 1959, on half paper scroll wood stands, 10.3cm high excluding standsCondition report: The dog with double gourd is missing the outer scroll tip of its tail. A small glaze chip to the left ear of the dog with ingot. Some surface scratches to the wood base where the feet and bodies rest.
A Chinese porcelain blue & white plaque, 19th century, painted with a bird upon a rocky outcrop eyeing an insect alighting on a blossoming peony flower, within a lotus flower and scroll border, mouunted in a Chinese carved hardwood frame, the panel 31.5 x 23cm, 41.7 x 32.7cm overallCondition report: A small poorly restored chip to the lower right corner, but otherwise in good order. The frame has a repair/restoration on the top right corner, the underside of the frame shows a small splice loss and crack to the lower right and a crack to the top right
A Chinese silk scroll wall hanging, Qing,中国，丝绸卷轴壁挂水彩画一副，清代painted with blossoming tree peony and rockwork, two, lines of script with two red seal marks, three further seal marks to the margins, watercolour, 99cm x 39cmCondition report: Some creasing and folds to margins, with further stresses and marks to the image, to include what look like tears / repairs. The whole is sun-bleached and faded in places with some areas darker than others. Some small repairs around the edges. Possibly 17th/18th century.
A Chinese Famille rose 'Chrysanthemum' moulded teapot, circa 1730, the lid moulded as a flower head above the cell decorated rim, in turn above panels of peony and buds against a floral scroll ground with a double band of moulded petals, with 18th century white metal replacement spout, 10cm high, together with an 18th century Famille rose teapot with lobed body, decorated with panels of tree peony flanked by narrow panels of single flowers against a pink scrolling ground, with matched lid, 11cmCondition report: A part of the underside of the rim and the knop of the cover have been restored restored.
A Chinese bronze gold splash incense burner, with slightly everted rim above a spherical body with scroll capped handles, on three short legs, archaic two character Xuande mark, 13.5cm high, approximately 15.5cm diameter excluding the handles, interior rim diameter 9.2cm, 2.674kgCondition report: No obvious faults
A Chinese blue & white 'Kraak' plate, 17th/18th century,中国，青花‘克拉克’盘一件，17/18世纪，及其他decorated with a scroll, gourd bottle and leaf fan, all tied with ribbons, with segmented border leading to a barbed rim, the underside the panels of stylised birds, the interior of the footrim with a surplus of kiln grit, two further blue & white plates and a famille rose plate heightened with gilding, 21cm - 23cm diametersCondition report: The Kraak plate with a small chip to the underside rim from which issues a 2cm fine hairline crack. The two blue and white plates have both been broken and glued, the dancing boys example has a small patch of restoration to the rim. The famille rose dish has a small patch of rim restoration and colour losses.
A Chinese tea cannister and cover, circa 1740, finely enamelled in oval panels with men with an ox and two ladies, and a fisherman and a boy with two ladies looking on, gilt scroll base, domed cover matching, 13.2cmCondition report: The knop has been off and restuck. There is a 3cm x 1cm 'D' shape chip on the rim of the lid which has been restored. Gilding around lid rim and knop is rubbed. There is a restored interior rim chip to the vase and the gilding to the exterior of this restoration has been re-applied. The gilding around the vase is partially rubbed. All issues should be visible in the online images.
A long Chinese silk hand scroll, Qing, painted with a mythological story of a continuous scene of figures in various pursuits, to include a celestial being descending from the sky with scrolls, a figure in palanquin, a figure hiding behind bamboo shoots, a semi clothed man sleeping on cracked ice with carp, an elderly man suckling a females teat, a by dressed as an animal and a variety of other figures, mounted in a modern gilt frame by Fletcher Gallery Services Ltd, 297cm x 26.5cmCondition report: Item is showing signs of general age related wear inluding some thread loss, fading and discolouration including staining. Also several creases and ripples.
A Chinese celadon ground meiping vase,the shoulder with lotus flower and scroll band above Rui head border, the body moulded with immortals on various beasts to include an elephant, tiger, lion, dragon, tortoise, warthog and camel, all within moulded clouds above a gadrooned base, 37.5cmCondition report: No obvious post production faults visible.
A Chinese blue & white censer, late Qing,中国， 青花双色香炉一件，晚清of slightly compressed form, with anhua scroll border, painted with scholars reading a scroll beneath a pine tree, between bands of clouds, on a raised circular foot, 14cm diameter, 11cm highCondition report: Some firing spots on the interior and rim otherwise no obvious faults. Rings out nicely when lightly tapped.
A Chinese parcel gilt bronze figure of a court attendant,中国，局部鎏金铜人像，大概明代，probably Ming Dynasty, her hair in the Tang style, parted and pinned into two tight buns, holding a vessel in her long sleeved robe, the robe with scroll decoration tied in the middle by a long belt, on modern clear perspex stand, 12cm excluding standCondition report: No obvious faults
A set of three Regency ebonised, gold painted and parcel giltwood pelmets, circa 1815, comprising a pair and one shorter example, each of semi-cylindrical section with central painted acanthus and scroll decoration the ends in the form of giltwood gryphons, approximately 262cm and 252cm long respectively Provenance:Possibly, Sir John Chichester of Raleigh (c. 1752-1808), 6th Baronet, for Youlston Park, Devon, or Sir Arthur Chichester (1790-1842), 7th Baronet, in the early 19th centuryThese Regency ebonized and parcel-gilt pelmets are in the French 'antique' style popularized in Percier & Fontaine's Recueil de Décoations Intérieures, published in 1801. Zoomorphic pelmets are featured in George Smith's A Collection of Designs for Household Furniture and Interior Decoration (1808), plates 1, 7, 8, 10 and 13, as is Greek-revival 'anthemion' ornamentation in the decorative arts. The eclectic and exotic nature of Regency fashion was led by George, Prince of Wales (later George IV, 1762-1830) at Carlton House, London and the Royal Pavilion, Brighton. These pelmets were installed in the Chinese Room at Youlston Park, Shirwell, Devon; this room located on the Ground Floor is hung with Chinese wallpaper 'exceptional for the extent of the animated scenes colourfully depicted against a buff ground' (C. Hussey, 'Youlston Park, Devon', Country Life, 11 May 1961, p. 1085, fig. 3 and p. 1086). Although, these pelmets differ stylistically from Chinoiserie decoration, in their colouring they relate to 18th and early 19th century Chinese ebonised picture frames adorned with gold motifs. These pelmets are possibly part of the early 19th century refurbishment that occurred either during the tenure of the 6th baronet, Sir John Chichester of Raleigh (c. 1752-1808) or when the house was inherited by his cousin, Sir Arthur (1790-1842), who became the 7th baronet. Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, The gryphons all with chips and losses to the gilt surface, the wings are made as separate elements which have been joined to the bodies of the beasts, where the join is they all have various chips, losses, openings to these joints and signs of various old repair including glue and pins, there is loss to the gilt in these areas too. One gryphon is missing the front section of one paw. The shafts all with wear and losses to the painted surfaces, and numerous scratches revealing underlying timber in placesThe rears with some later timber and blocks and hanging hooks Condition Report Disclaimer
White metal openwork pomander (vinaigrette) Chinese, late 19th/early 20th Century elaborate form for a Buddhist client, form similar to Sino-Tibetan amulet box (gau), pattern repeated equally on both sides with an overall design in silver scroll work and flaming orbs, with standing figure of Guanyin standing on clouds, two dragons hold the suspension chains with archaic form clasp of demon head on vase, container 6.5cm tall, total length with suspension chain and clasp 13cm (Chinese silver marks on the underside of the pomander and on the clasp)
Chinese School (19th century)Immortals GatheringHanging scroll, ink and colour on paper, depicting Xiwangmu, Queen Mother of the West, descending towards Shoulao and two of the Eight Daoist Immortals waiting on a terrace lapped by the waves of the sea to offer birthday felicitations, the other five immortals are shown below, all accompanied by attendants, below a calligraphic panel, entitled 海屋添壽 (birthday wish of longevity), signed 克明頓 (Keming dun). 171cm x 71cm (67.1/4in x 28in).For further information on this lot please visit Bonhams.com
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