Eleven kozuka (knife handles)Edo period (1615-1868), 17th to 19th centuryOf shakudo, shibuichi, copper, or iron, decorated in a variety of chiselling and inlay techniques, the first with a Chinese general and a Tartar warrior, with signature Toshinaga; the second with travellers in a ferry boat, with signature on the side Hamano Noriyuki; the third with Kanzan holding a scroll, with signature Joi; the fourth with monkeys, signed Omori Hidekuni (a nanako specialist); the fifth with a snow-covered stem of bamboo, the moon on the reverse, indistinctly signed; the sixth with a tokkuri and guinomi (sake flask and cup), the reverse with a poem ; the seventh in the form of a fish, signed Yuzo; the eighth with a herdboy on an ox in a river, reaching out to recover his lost flute, signed Kato Tomotoshi and sealed Tomotoshi; the ninth with cranes in a rice paddy, signed Yoshida Kiyoteru; the tenth with a bamboo blind and books, with signature Goto Yujo and a kao; the last with a horned owl on a branch by the light of the moon. (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
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SENGAI GIBON (1750-1837)Edo period (1615-1868), early 19th centuryTenjin, kakejiku (hanging scroll), ink on paper in silk mounts, depicting the deified form of the Heian-period statesman and culture hero Sugawara no Michizane (845-903) dressed in Chinese clothes and travelling to Tang-dynasty China carrying a branch of blossoming prunus, his favourite flower and emblem, with an inscription, sealed Sengai, the jikusaki (scroll ends) of lacquered wood carved with the auspicious character Ju at each end; with a wood tomobako inscribed outside Sengai Osho hitsu Toto Tenjin zu (Picture of Tenjin crossing to China, brushed by Priest Sengai). Overall: 171.5cm x 44.7cm (67½in x 17 5/8in); image: 84.8cm x 28cm (33 3/8in x 11in). (2).Footnotes:Provenance:Purchased from S. Yabumoto, Tokyo, 1975.A distinguished private collection.For further information on this lot please visit Bonhams.com
Eight fuchi-gashira (hilt collars and pommels)Edo period (1615-1868), 18th to 19th centuryFour of shibuichi, three of shakudo, and one of brass, decorated in a variety of chiselling and inlay techniques, the first with Jurojin and deer, one of them pierced by an arrow, with signature Horie Okinari and a kao; the second, the kashira with an eagle seizing a monkey, the fuchi with a minogame (bushy-tailed longevity turtle), signed Yoshiharu ; the third with a rats' procession, signed Hiroyoshi (active 1840s) with a kao; the fourth with a kappa (river demon), signed with a kao; the fifth with a rat and hanging scroll, with signature Yasuchika; the sixth with horses drinking under a river by a tree; the seventh with oxen; the last deeply chiselled with shishi (Chinese mythical lions), the engraving extending onto the fuchi plate. (16).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
Eight fuchi-gashira (hilt collars and pommels)Edo period (1615-1868), 18th to 19th centuryAll of shibuichi, decorated in a variety of chiselling and inlay techniques, the first of yamabushi (warrior monks) wearing oi (backpacks), with signature Shunshodo Konkan and a kao; the second with Hotei and karako (Chinese boys), with signature Issando Joi and a stamped number 55; the third with the three Chinese heroes of the Three Kingdoms swearing the Peach Garden Oath, Cao Cao shown on the fuchi, with signature Nara Toshinaga; the fourth with Jurojin and his crane and Jurojin with his stag; the fifth, the kashira modelled as Jurojin holding a scroll, the fuchi depicting a religious ceremony, signed and dated Kaei gan saru chu ka Ishiguro Masayoshi kinsaku (Carefully made by Ishiguro Masayoshi in the fifth month of 1848) and a stamped number 63; the sixth, the kashira modelled as Hotei carrying his sack, the fuchi with cranes; the seventh with a Manzai New Year dancer, a sarumawashi (monkey trainer) and pine saplings, with signature Echizen no Daijo Nagatsune and a kao; the last with a Nio (Buddhist guardian deity), with signature Joi and seal Nagaharu. (16).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
Five Oriental pictures including two Chinese woodblock prints with inscriptions, one of an elder holding a scroll and another of a recumbent boar, a further coloured woodblock print of a lake with boats and figures in the foreground and Mount Fuji behind and an indistinctly signed and numbered Oriental print, all framed and glazed (4).
A group of 20th Oriental century blanc de Chine figures to include geishas, a potter at his wheel, a travelling sage and others, a pair of 20th century Chinese temple dogs, each seated on raised square plinth, a pair of Chinese cockerels from the same period and a Siamese carved goddess, height of largest 37cm (10).Provenance: Part of the Paul Lightfoot Collection. CONDITION REPORT The Dogs of Fo do not appear to have any visible damage. The carving does not appear to have any damage. One of the blanc de Chine geishas has a repair to the hand, one of the other figures has a scroll and half of his hand broken off and there is slight damage to some of the other figures. One blanc de Chine figure of a gentleman has part of hand missing. One lady has repair to hand.Taller lady figure has one missing thumb, any other wear is age-related.
A Chinese Export blue and white meat plate painted with pagodas and a house within a lakeside scene, the borders with scroll trellis and floral motifs, 41.5 x 33cm (af). CONDITION REPORT Chip to right hand border, nibbles to the rest of the border. Some discolouration to the ground and signs of wear commensurate with age.Some small rim chips, one larger one in 'V' shape, age related wear in the form of surface scratches, some small firing flaws, no sign odf major restoration, no signs of cracks or major chips
Seven early jade carvings together with a turquoise carving of a bovine beast-headShang/Han DynastyComprising a bird plaque, the stone of pale-grey tone, 5.9cm (2 1/2in) long; a yellow jade stylised dragon pendant, 8.9cm (3 3/8in) long; a rectangular plaque carved with 'C-scroll' patterns, the stone of dark greenish-brown tone, 6cm (2 3/8in) long; an elongated tapering plaque, the stone of grey tone with white and brown calcified patches, 11.8cm (4 1/2in) long; a reticulated rectangular plaque carved with chess-board pattern flanked by scrollwork, the stone of pale green tone with brown patches, 3.3cm (1 1/4in) long; a stylised 'lotus' pendant, the stone of pale green tone with areas of white calcification, 4.7cm (1 3/4in) long; a comb-shaped pendant, the stone of dark chocolate tone, 4.5cm (1 3/4in) long; and a turquoise bovine-head carving, 2cm (3/4in) long. (8).Footnotes:商/漢 玉飾七件 及綠松石牛首紋珠 一組八件Provenance: Mlle Densmore, Paris, 19 September 1961 (elongated tapering plaque)Frank Caro, New York, November 1953 (reticulated rectangular plaque)Frank Caro, New York, April 1954 ('lotus' pendant)Mrs Gret Hasler (1895-1971), Winterthur, Switzerland, acquired from the above in 1961, 1953 and 1954 respectively, and thence by descentA trip to New York, Chicago and Washington in 1937 was the starting point for Mrs Gret Hasler's interest in Chinese art. This she continued until the Second World War by acquiring objects from dealers in Paris, Sweden and New York.來源：巴黎古董商Mlle Densmore，1961年9月19日（圖示最下之柄形器）紐約古董商Frank Caro，1953年11月（鏤雕長形飾）紐約古董商Frank Caro，1954年4月（圖示左上之花形飾）瑞士溫特圖爾Gret Hasler夫人（1895-1971）舊藏，分別於1961年、1953年及1954年入藏，並由後人保存迄今Gret Hasler夫人對中國藝術的興趣始於1937年的紐約、芝加哥和華盛頓之行。此後，她持續自巴黎、瑞典和紐約的古董商處購藏藝術品，直至第二次世界大戰後。See a similar turquoise carving of an animal face, Shang dynasty, illustrated in the Compendium of Collections in the Palace Museum: Jade, 2, Beijing, 2011, p.156, no.166. A similar jade bird, Shang dynasty, is also illustrated in ibid. p.170, no.190. Compare the rectangular C-scroll jade plaque to a related jade pendant of stepped form, Spring and Autumn period, illustrated in the Compendium of Collections in the Palace Museum: Jade 3, Spring and Autumn Period and Warring States Period, Beijing, 2011, p.53, no.44. Another similar jade carving of a bird, Shang dynasty, is also illustrated by J.Rawson, Chinese Jade: From the Neolithic to the Qing, London, 1995, p.226, no.12:28 See also a related jade stylised dragon pendant, Warring States period, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, p.180, no.150This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A RARE YELLOW-GROUND SILK KESI ROBE 'DRAGON' PANELWanliThe panel finely woven with a lively side-facing five-clawed horned dragon chasing a flaming pearl beneath an oval canopied lantern decorated with a rabbit and striding amidst wispy ruyi clouds interspersed with the Auspicious Emblems, all on a rich yellow-ground above the terrestrial diagram rising above rolling waves and ruyi clouds, mounted.122cm (48in) long x 61cm (24in) wide.Footnotes:明萬曆 黃地緙絲龍紋袍料Provenance: Jacqueline Simcox Ltd., London, 2007An English private collection來源：倫敦古董商Jacqueline Simcox Ltd.，2007年英國私人收藏Finely woven in gold and multi-coloured threads with elegant designs of a side-facing five-clawed dragon, writhing amidst clouds and a lantern decorated with a rabbit, the present panel would have formed the front right half of an Imperial robe which would have been worn by the Emperor on the occasion of the Lantern Festival celebrations. The Lantern Festival was held over a period of ten days centering on the 15th day after the New Year Festival, which was the time of the first full moon of the new year. It appears to have been introduced during the Han dynasty, probably in relation with the spread of Buddhism in China. Emperor Ming of the Eastern Han dynasty (25-220 AD) had heard that Buddhist monks prayed to Buddhist relics on the 15th day of first lunar month, lighting lanterns to pay respect to the Buddha. Taking a liking to the custom, he ordered that lanterns be lit throughout the Imperial palace and all the temples on the same day. The custom of hanging lanterns quickly became widespread among the population; see G.J.Melton, Religious Celebrations: An Encyclopedia of Holidays, Festivals, Solemn Observances, and Spiritual Commemorations, Goleta, CA, 2011, pp.514–515. A colourful scroll painting titled 'Xianzong Enjoying Pleasures', in the History Museum, Beijing, depicts the ruler at several moments in time including his tour of the palace surveying the elaborate festivities he ordered for the Lantern Festival, which included several rows of brilliantly-blazing lanterns lining the archway leading up to the Imperial palace; see J.Stuart, 'Timely Images: Chinese Art and Festival Display', in Proceedings of the British Academy, vol.167, 2009, pp. 295–348.The Emperor, Imperial family and high-ranking wealthy courtiers wore costumes woven or embroidered with themed decoration for the festive event. While the Ming dynasty official colour was red, the Emperor wore yellow for his official Court dress. Robes made to be worn for the occasion were probably restricted for use by the upper ranks at the Court of the Wanli Emperor, known for its demand for luxurious silks. Compare with a silk gauze embroidered panel from a dragon robe made for the Lantern Festival, Wanli, depicting a side-facing dragon riding amidst clouds and lanterns, illustrated by J.Vollmer and J.Simcox, Emblems of Empire, Edmonton, AB, 2009, pp.50-51.For further information on this lot please visit Bonhams.com
AN EXTREMELY RARE AND IMPORTANT CLOISONNÉ ENAMEL 'POMEGRANATES' CIRCULAR BOX AND COVERIncised Xuande six-character marks and of the periodThe slightly-domed cover exquisitely enamelled in gradating tones of red, green and yellow in the centre with two ripe pomegranates, one bursting with ruby-red seeds highlighted with white, issuing from gnarled gold branches with blossoms and further smaller fruit, the undulating leaves with shades of red, yellow and blue picked with gold veins, the vertical sides of the cover and box decorated with formal lotus scrolls, the slightly recessed base incised with a Xuande six-character mark, the interior of the cover similarly incised with a six-character mark. 12cm (4 3/4in) diam. (2).Footnotes:明宣德 掐絲琺瑯石榴紋蓋盒「大明宣德年製」楷書刻款Provenance: Spink and Son, Ltd., London, purchased by Lord Cunliffe in 1946Rolf, Lord Cunliffe (1899-1963), Honorary Keeper of the Far Eastern Collections at the Fitzwilliam Museum, Cambridge (collection no.E2), and thence by descentPublished, Illustrated and Exhibited: Mostra D'Arte Cinese (Exhibition of Chinese Art), Venice, 1954, p.203, no.754The Arts Council of Great Britain and the Oriental Ceramic Society, The Arts of The Ming Dynasty, 15 November - 14 December 1957, no.300 (published and exhibited)H.Garner, Chinese and Japanese Cloisonné Enamels, London and Boston, 1962, pl.23 (published)Rolf, Lord Cunliffe, began collecting Chinese art in London towards the end of the Second World War. Over the next 20 years, he acquired over five hundred Chinese ceramics, jades and bronzes; buying judiciously but regularly from the best dealers in Chinese art dotted around Mayfair and St James in London, including galleries such as Bluett & Sons, John Spark, and Spink & Son. At his London flat in the heart of Mayfair, across the street from the famous Dutch dealer in Chinese art Peter Boode, he squeezed his growing collection into steel filing cabinets inconspicuously tucked away in his bathroom! Visiting collectors like the King of Sweden would spend happy hours sitting on the edge of the bath, discussing the finer points of a jade rhyton or a Junyao bowl. The present important cloisonné enamel box and cover, Xuande marks and of the period, has been a prized object in the collection, previously exhibited on two occasions, lastly in 1957, and published in the important and early publication by Sir Harry Garner in 1962.來源：1946年，倫敦古董商Spink and Son, Ltd.劍橋大學菲茨威廉博物館東方藝術部名譽主任，Rolf，Cunliffe勛爵（1899-1963）舊藏（藏品編號E2），並由後人保存迄今展覽著錄：「Mostra D'Arte Cinese（中國藝術展）」，威尼斯，1954年，頁203，編號754英國藝術委員會與倫敦東方陶瓷學會，「The Arts of the Ming Dynasty（明朝藝術）」，1957年11月15日-12日14日，編號300（展覽並出版）H.Garner著，《Chinese and Japanese Cloisonné Enamels（中國與日本掐絲琺瑯）》，倫敦和波士頓，1962年，圖版23Rolf，Cunliffe勛爵，第二次世界大戰後期開始收藏中國藝術品；並在之後的二十年內有規律地光顧倫敦當時最為頂尖的中國藝術古董商，如Bluett & Sons、John Spark、和Spink & Son 等，購藏了五百餘件中國藝術品，所藏涵括瓷器、玉器、和青銅器等門類。其倫敦的公寓位於梅費爾地區腹地，與著名中國藝術經紀Peter Boode隔街相望；而他就將其日益壯大的中國藝術收藏收納在公寓浴室中毫不起眼的金屬櫃裡！登門造訪的收藏家，譬如瑞典國王，則會花幾個小時坐在浴缸邊沿，愉快地交流諸如玉雕來通盃或鈞窯盌上的精彩細節。本例明宣德掐絲琺瑯石榴紋蓋盒，「大明宣德年製」楷書刻款，在Cunliffe勛爵的收藏中也備受重視，曾經兩次公開展出，最近一次展於1957年，且被收錄在早在1962年出版的加納爵士（Sir Harry Garner）關於掐絲琺瑯的重要著作中。Cloisonné enamel wares, though introduced in the 14th century during the Yuan dynasty, are widely considered to have reached artistic maturity in the early 15th century during the early Ming dynasty. In terms of their dynamic designs and powerful palettes, framed and heightened by the richly gilt wires, the Xuande period represents the pinnacle of cloisonné enamel craftsmanship as exemplified in the famous 'dragon' jars and covers in the British Museum, London and the Uldry Collection in Museum Rietberg in Zurich. The present lot is an exceptionally rare example of this early period, bearing two incised Imperial Xuande reign marks, demonstrating the bold palette and decorative features of the period, exquisitely shown in the juicy translucency of the ripe and bursting fruit. Apart from being extensively published, the present lot is important as it is one of only four published similar cloisonné enamel boxes. Each of these four boxes is similar in form, in size (approximately 12cm diam.), in the lotus scroll decoration around the sides of the box and cover, and in the main decorative motif being a type of auspicious fruit: pomegranates, persimmons, melons and grapes. Importantly, each of these boxes are doubly marked with an incised Xuande six-character reign mark, once on the underside of the box and again on the interior of the cover. The Cunliffe box is the only one remaining in a private collection with the other three in public museums and institu... For further information on this lot please visit Bonhams.com
A FAMILLE ROSE FIGURE OF GUANYIN18th centuryThe Goddess of Mercy finely modelled seated with her right leg raised, her left arm holding a scroll resting upon her right hand, the face with serene expression beneath a high chignon bun draped with a shawl, clad in loose flowing robes finely decorated with lotus sprays and foliate scroll work, open at the chest revealing beaded jewellery, with hardwood stand. 24cm (9 1/2in) high. (2).Footnotes:十八世紀 粉彩觀音坐像Provenance:Captain Charles Oswald Liddell (1854-1941)Bluett & Sons Ltd., LondonE. A. Parry (1879-1946), London, acquired from the above on 12 June 1929, and thence by descentPublished and Exhibited: Bluett and Sons Ltd, The Liddell Collection of Old Chinese Porcelain, London, June 1929, p.15, no.137.來源：Charles Oswald Liddell上尉（1854-1941）倫敦古董商Bluett & Sons Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1929年6月12日購自上者，並由後人保存迄今展覽著錄：Bluett & Sons Ltd.，《Liddell收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》，倫敦，1929年6月，頁15，編號137Captain Charles Oswald Liddell (1854-1941) was born in 1851 in Edinburgh. Having moved to China for family business, he worked there from 1877-1913. He married Elizabeth Birt in 1880 in the Anglican Cathedral in Shanghai, and thereby inherited Birt's Wharf there, expanding the business to Hangzhou, Tianjin and Harbin. He was joined by his brother John when the firm became known as Liddell Bros. In 1915 Liddell was Quartermaster and Hon. Captain in the 1st Battalion, The Monmouthshire Regiment, having served previously (and more adventurously) in the 'Shanghai Light Horse'. Liddell collaborated with A.W.Bahr in an exhibition in Shanghai in 1908 (he was Chairman of the North China branch of the Royal Asiatic Society, and in writing descriptions for it which were printed by A.W.Bahr, Old Chinese Porcelain and Works of Art in China, 1911. Charles Liddell had formed his collection, except for three pieces, while trading in China for nearly forty years. He purchased a number of them from two significant sources: the collection of Prince Chun, the last Regent of the Qing dynasty; and from the collection of the private secretary and adviser to Li Hongzhang. In May-June 1929 Bluett's offered part of the collection for sale, publishing a catalogue of The Liddell Collection of Old Chinese Porcelain with 229 entries and eight illustrative plates, one of them unusually in colour.A related but larger famille rose figure of Guanyin on a separate lotus stand, Qianlong, was sold at Christie's Hong Kong, 29 April 2002, lot 705. see also a closely related famille rose figure of Guanyin on a lotus base, Qianlong, in Clandon Park, Surrey (acc.no.NT1440426.1).利德爾上尉（Captain Charles Oswald Liddell），1854年生於愛丁堡。1877年移居中國，並為其家族企業一直在華工作至 1913年。1880年，他與Elizabeth Birt在上海聖公會大教堂舉行婚禮，隨後接手了Birt家族在上海的平和碼頭，並將業務擴展到杭州、天津和哈爾濱等地。平和洋行的英文商號在其弟John加入後改為Liddell Bros。利德爾曾服役於上海英租界輕騎隊，並於1915年任蒙默思郡團一營軍需長官和榮譽上尉。1908年，利德爾與巴爾（A.W.Bahr，時任皇家亞洲學會華北分會秘書）合作於上海舉辦展覽，巴爾將展覽描述集結成《中國古瓷美術譜（Old Chinese Porcelain and Works of Art in China）》並於1911年出版。利德爾的藏品，除其中三件以外，全數在其在華經商的近四十年間入藏；其中一大部分來自兩個重要渠道：清朝末代攝政王醇親王載灃的藏品，以及李鴻章的私人秘書兼顧問的收藏。1929年5月至6月期間，倫敦古董商Bluett's出售了利德爾的部分藏品，並出版了《利德爾收藏中國瓷器（The Liddell Collection of Old Chinese Porcelain）》圖錄，收錄了共計229件藏品並附8張插圖，其中甚至包含一幅頗不尋常的彩色插圖。參考一件較此例稍大的清乾隆粉彩觀音像，坐於粉彩蓮座之上，售於香港佳士得，2002年4月29日，拍品編號705。英國國家名勝古蹟信託會員之薩里郡克蘭頓公園公館亦收藏一例清乾隆粉彩觀音像，藏品編號NT1440426.1，可為比對。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 RARE PALE GREEN AND RUSSET JADE INSCRIBED ARCHAISTIC CUPMing DynastyThe deep oval vessel set on a short foot with spreading rim, carved with three horizontal bands, the upper bearing a two-line archaic-character inscription, the middle register with stylised archaistic chilong motifs, the lower with scrollwork designs, the openwork handle carved in the form of a sinuous scrolling dragon, the greenish-yellow stone with russet veining and inclusions. 11cm (4 3/8in) high.Footnotes:明 青白玉仿古紋觥Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 30 November 1938, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1938年11月30日購自上者，並由後人保存迄今Archaistic jade vessels similar to the present lot were probably based on jade rhytons dating to the Han dynasty. See a jade vessel excavated from the tomb of the King of Nanyue, Guangdong Province, illustrated by J.Rawson in Chinese Jade from the Neolithic to the Qing, London, 1995, p.70, fig.61, which, in turn, appears to have been based on Western Asian forms shaped as horns rising from a twisted, bifurcated tail-form handle at the bottom and incised around the sides with scroll decoration. By the Song and Ming dynasties, this shape was modified and the sides carved with bands of archaistic decoration inspired by that found on ritual bronzes and jades of the Eastern Zhou and Han dynasties, often with the addition of chilong carved in high relief around the sides, and sometimes with a dragon-form handle, such as the one which can be noted on the present cup. Compare with a related jade cup, Ming dynasty, decorated with archaistic designs of cicadas, taotie masks and stylised dragons, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum, vol.2, Hong Kong, 1995, pp.232-233, no.183.A related yellowish-celadon jade rhyton cup, 17th century, was sold at Christie's London, 12 November 2010, lot 1178.玉質青黃，赭褐沁呈色自然。橢圓體，深膛矮足，口微侈。器外壁環以三周紋飾，最上一週為明異體篆書銘文兩行，中層雕螭龍紋，下層飾羽翅紋。鏤空盃鋬以一矯健遊龍造型。此類仿古玉器多以漢代玉觥為濫觴。如廣東西漢南越王墓中出土一件角形玉盃，圖見J.Rawson著，《Chinese Jade from the Neolithic to the Qing》，倫敦，1995年，頁70，圖61；其器形源於西亞，形似犀角，底部捲曲成把手，盃身纏以回環往復之龍紋。至宋明兩代，該類器型持續發生衍變，盃身多飾以仿東週及兩漢時期青銅禮器及玉器之紋樣，並常見高浮雕螭龍紋，鋬以龍造型為多。比較一例清宮舊藏明代玉仿古銅紋單耳盃，外壁亦雕三周紋飾，收錄於《故宮博物院藏文物珍品全集：玉器（中）》，香港，1995，頁232-233，編號183。另有一例十七世紀青黃玉雕角盃，售於倫敦佳士得，2010年11月12日，拍品編號1178，可資比對。For further information on this lot please visit Bonhams.com
A RARE LAPIS LAZULI TRIPOD INCENSE BURNER AND COVER, DINGQing DynastyThe lustrous blue stone carved around the exterior with an inscription reading 大唐貞觀寶鼎 ('Da Tang Zhenguan Baoding'), 'Precious ding from the Tang Zhenguan Reign', supported on three double scroll and paw cabriole feet, the sides with mythical-beast-head handles suspending loose rings, the domed cover similarly carved with characters, carved hardwood stand. 14.2cm (5 5/8in) wide across the handles. (3).Footnotes:清 青金石三足鼎式蓋爐Provenance:Spink & Son Ltd., London,E. A. Parry (1879-1946), London, acquired from the above on 31 March 1925, and thence by descent來源：倫敦古董商Spink & Son Ltd.倫敦E. A. Parry（1879-1946）舊藏，於1925年3月31日購自上者，並由後人保存迄今Lapis Lazuli was valued for its beautiful colour and and the sparkle of gold from the pyrite inclusions. See a closely-related but smaller lapis lazuli archaistic tripod incense burner and cover, late 18th/19th century, in the British Royal Collection, listed by 1920 in Queen Mary's Bibelots, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.III, London, 2016, p.827, no.1922.A related archaistic lapis lazuli censer, gui, dated 18th century (12cm wide), was sold at Christie's London, 11 November 2011, lot 1368.青金石屬珍罕石材，色澤藍紫，部分有白斑紋。參考英國皇家收藏一例十八世紀晚期/十九世紀青金石仿古紋三足爐，形似本例惟體積稍小，早在1920年即被收錄入《瑪麗王后擺飾（Queen Mary's Bibelots）》清單，圖見於J.Ayers著，《Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen》，卷三，倫敦，2016年，頁827，編號1922。倫敦佳士得曾於2011年11月11日售出一例十八世紀青金石簋式爐，拍品編號1368，可資比對。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 SET OF FOUR CHINESE SCROLLS Depicting cranes, an eagle, horses and pheasants; amongst pine; willow and flowers, inscribed and with seals, mounted on hanging scrolls and each with its own box 82xm x 43cm; entire scroll 162cm x 49cm Condition: For condition report and further images, please contact the saleroom via hello@hotlotz.com
Ink on SilkChinaDimensions: 91.5 cm x 32 cmPu Ru was a descendant of the royal family of the Qing dynasty. He was born in Beijing and used to study in Germany. He is good at traditional Chinese painting, especially landscape painting. This hanging scroll depicts the verdant mountains and gurgling water in spring. A pair of cranes is standing on the top of a pine tree while a single one is flying in the sky. Under the pine trees, there are two scholars sitting on the flat ground and talking to each other. The whole atmosphere of the painting is warm and comfortable.
Ink on PaperChina , dated 1947Dimensions: 68 cm x 23 cmZhang Daqian is known as one of the most talented artists of the 20th century.He is a master of traditional Chinese painting, calligraphy and seal cutting. This horizontal scroll was written in running script in June 1947 at the age of 48.The text reads Dui jiu dang ge, which means "singing while drinking".Inscription: Dinghai liuyue ximo Signature: Daqian Jushi Seal: Da feng tang
A Chinese mottled celadon jade boulder, the front well carved with one scholar crossing a bridge, the other scholar sitting in a pavilion reading a scroll, the reverse deeply carved with a boy riding on a water buffalo in a landscaped scene, 12cm high, 12cm long, on a carved wood stand青玉松山隐士图山子Condition Report: Good condition, nice quality (no damage)Please ask the department for additional imagesCondition Report Disclaimer
Large 18th century Chinese blue and white circular charger, the central panel depicting a man standing with crossed arms on an island with pine tree, with fishing boat and mountains beyond, surrounded by lattice scroll, floral and foliate border with butterflies, riveted repairs, unmarked, 55cm diam.
A Japanese bronze koro, the compressed globular body with two Buddhist lion handles, raised on three splayed legs, the cover surmounted with a Buddhist lion finial, 13.5cm high, and a pair of Chinese wood scroll weights, of rectangular form, carved with figures within shaped panels, 36.3cm and 36.6cm long (4)Condition report: Koro - dents, surface scratches.Weights - splits, surface scratches, evidence of wood filler, wood stained with marks.
A RARE CHINESE BLANC DE CHINE MODEL OF A GUANYIN SEATED ON THE BACK OF A STANDING ELEPHANT, KANGXI PERIOD, modelled holding a scroll in her left hand, the animal's head turned back to the right, the hemispherical base with floral motif, Marchant London label. 21.8cm high Provenance: S. Marchant & Son, London (a copy of the invoice is available)CONDITION REPORTIn good condition
A WORCESTER TEAPOT AND COVER, CIRCA 1770, painted in colours and gilt in the Chinese style with a Mandarin pattern of two round panels with Chinese figures, reserved on a gilt scroll ground. 13.5cm highCONDITION REPORTRestoration to the finial on the cover and old losses to the leave teapot overall in good condition, no cracks or chips
CHINESE LARGE ARCHAIC BRONZE THREE PIECE YAN STEAMERraised on three supports with masks to a squat circular body with two ring handles and scroll work decoration with eight character marks to the rim, the upper shaped section with a pair of taotie masks and ring handles with dragon mounts with scroll work and panthi decoration, the circular lid with four suspension rings and scroll decoration, 38cm high
A Chinese porcelain bottle vase in Qianlong style (later). The lip with a key fret pattern above floral sprigs. The main body decorated with peaches and lady's fingers above a scroll-decorated foot. Blue painted six-character mark to the underside. (18cm high)Condition Report: In our opinion this is probably a 20th century piece, the decoration appears to be 'ghosting' a little and is bleeding into the main glazed area in places. The neck appears good, the underside of the foot appears good, it is noted that there is a six character blue hand painted seal mark to underside, all in good overall original condition.
Chinese School (19th century), Gouache on paper, Ancestral Portrait of a 8th Rank Civil Official, 88cm x 46.5cm, Mounted onto a large scroll Condition report; The mount (scroll) has areas of creasing, staining and foxing. The painted panel shows some areas of rubbing wear to the surface. Please see additional images for clarification.
A Chinese hardwood alter table, first half 20th c, the frieze applied with carved and pierced medallions of peaches and auspicious emblems alternating with cash, the legs headed by figured tablets, 84cm h; 47 x 136cm Pleasing old colour and patina, not withstanding the wear scratches and ring marks and other stains on the top. Loss to C-scroll on one corner
A mid 19th century Chinese export black and gilt lacquered work boxof canted rectangular form, typically decorated with reserves of figures and buildings on a compartmented foliate scroll and densely foliate sprigged ground, raised on claw feet, the interior fitted a lift-out tray with some open and lidded compartments, containing various bone sewing tools a pin cushions, and remnants of old spools, 35.7cm long, 26.3cm wide, 16.5cm highThis 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
RARE 18THC CHINESE BLUE & WHITE EXPORT TUREEN a rare Chinese export blue and white rococo style tureen and cover, circa 1760 and made for the French market. Modelled after a silver or faience shape with frond handles and rococo foliage, and standing on four leaf scroll feet, painted with panels of flower blooms. Damages and repairs to the lid, 31cms high
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