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Lot 106
A Chinese inscribed jade 'tiger' tally,Qing dynasty (1644-1911), each half of the tally is carved as a recumbent tiger with six seal script characters incised to the spine and another character to the stomach, the interior half is incised with a large tong (the same) character, surrounded by an inscription incorporating different government official titles, the stone of spinach green tone with mottled russet inclusions, 5.3cm long, anda jade carving,Qing dynasty, of a seated monkey holding a peach,5cm long (3)Provenance: The collection of David Widdicombe QC (1924-2019), purchased from Shanghai Antique & Curio Store on 24 March 1983;thence by descent.清 玉雕虎符 及 玉猴献寿把件Condition report: Tally - small chips to edgesMonkey - no obvious faults.
Lot 115
A Chinese bronze censer,Qing dynasty (1644-1911), the compressed globular body surmounted by a short ribbed neck and an everted flat rim, all supported on three short tubular waisted feet, four-character Xuande seal mark within a recessed rectangle to base, 9.3cm diameter, 422.8g清 铜铸鬲式炉 《宣德年制》楷书模款Condition report: Surface scratches and minor dents. General wear. 422.8g.
Lot 142
A Chinese porcelain box and cover, Republic period (1912-1949), of circular form covered with a white glaze, filled with red seal paste, 6.9cm diameter, together with a rock crystal seal,of rectangular form, the seal face reads 'shunshi', 3.5cm high, in a wood box,the slide cover inscribed, written by Doushu and made by Disheng, 10.2cm wide9cm deep13cm high (4)民国 印泥盒 连 水晶印章Condition report: Seal chipped. Box with splits and surface scratches.
Lot 176
A Chinese gouache painting,with splashed colours on a gold ground, signature and seal of Zhang Daqian, ink and colour on silk attached to cardboard,image 27 x 24cmframed, overall 35.5cm high张大千款 山水图 泼墨泼彩绢本 镜框Condition report: Painting with minor creases and cockling, cardboard warped. Some scratches and some paint losses. Frame with chips to edges and splits, one corner glued, the backboard with damages to edges.
Lot 180
A Chinese gouache painting,Qing dynasty (1644-1911), of blossoming foliage including roses, daises and lilies emanating from two cloisonné censers, both on a wood stand, together with a red double gourd, red artist's seal, ink and colour on silk, 27 x 32.5cm, framed and glazed清 佚名 岁朝图 设色绢本 镜框Condition report: Framed chipped and scratched. Did not examine outside of the frame. Silk ground stretched. Colours faded. Some pulled threads.
Lot 31
A Chinese famille rose censer, 18th century, of circular form on three ruyi-shaped feet, painted with figures under a pine tree in front of a pavilion, in a mountainous landscape, inscribed with a seal reading 'Banshan', six-character Jiajing mark to base,7.6cm diameter7cm high'Banshan' (Halfway up the mountain) is a hao that was used by several artists. It was a particularly popular name, as it could be associated with the Chinese concept of the 'middle way'. The most famous of these artists was Tang Ying (1682-1756), the Superintendent of the Imperial porcelain works in Jingdezhen. For a similar lot, see Sotheby's, Hong Kong, 27 April 2003, lot 177.清十八世纪 粉彩山水图琴炉 《大明嘉靖年制》青花楷书款Condition report: A hairline crack to the side, signs of repair.
Lot 32
A Chinese famille rose seal box, Daoguang (1820-1850), of square form, the cover painted with figures in a study, the sides with foliage and scrolls, four-character Daoguang mark to base, 5.9cm long, and a famille rose vase, 18th century, of square form, painted with figures or a landscape to each side, mask and ring handles in relief to the neck, four-character mark to base,8.5cm high (2)清道光 粉彩人物故事图盖盒 《道光年制》矾红篆书款及 清十八世纪 粉彩山水人物图小瓶Condition report: Box - chips to rims.Surface scratches. Vase - no obvious faults.
Lot 8
A pair of Chinese sancai bowls,Kangxi (1662-1722), each of rounded form with a flared rim, painted with blossoming branches in straw and amber against a mottled-green ground, a seal mark to base,19 and 19.5cm diameter, wood stands (4)Provenance: From the collection of the late Surgeon Captain J A Forrest RN.Surgeon Captain J A Forrest RN (1871-1953) served with the China fleet between 1899 and 1919, during which time he formed a collection of Chinese porcelain. After his death, the collection was bequeathed to his daughter who gifted thirteen items from the collection to the Victorian & Albert museum on 13 October 1954. This pair of Kangxi bowls on stands were retained by the family and came thence by descent.清康熙 素三彩花卉纹碗 连木底座 一对 Condition report: Both chipped and cracked to rim, one chipped to foot rim.Painting not included in the lot.
Lot 92
Three Chinese soapstone carvings,Republic period (1912-1949), comprising:one seal, of a dragon seated on a rectangular plinth, incised 'Zhenfu', the seal face with four characters ‘You Ran Huai Gu’,8.4cm high,another seal, with a Buddhist lion playing with pups, 5cm high, and another, with two entwined chilong,5cm long (3)民国 寿山石雕印章 及 把件 一组三件Condition report: Seal with dragon - surface scratches, minute chips to edges. Seal with Buddhist lions - general wear, minute chips to edges and corners.Chilong carving - cracks and minute chips to edges.
Lot 107
GROUP OF SIX JADE PIECES comprising: a small pale celadon dish of hexagonal form, 9cm wide; a wide jade sword slide of plain sides, 5cm wide; a yellowish-celadon jade thumb ring with russet skin, the exterior carved with buffaloes under pine tree, 3.1cm diameter; a chicken-bone white jade thumb ring with some darker area, the exterior incised with a flower and some small Chinese characters, with some remanent of gilding in the concave parts, 2.8cm diameter; a brownish-celadon jade square seal carved with a qiling as a knob, 2.2cm wide; together with a chicken-bone white jade square seal with inscription and a rectangular knob, 2cm wide (Dimensions: largest: 9cm wide) (Qty: 6)(largest: 9cm wide)Qty: (6)
Lot 266
An early 20th Century antique Chinese Republic Period blanc de chine Dehua porcelain lamp having a ginger jar shape pierced shade with greek key, bats and circular cartouche. All raised on a tapered circular pedestal base. Impressed seal / and marks to base. Measures approx; 27cm tall. Condition; Two chips to base otherwise good.
Lot 712
An antique 18th Century Chinese Qianlong mark and period charger plate having a pale Celadon green ground with layers of scrolling medallion and scalloped edge. The underside having a six character Qianlong reign mark in underglaze blue Zhuanshu seal script with a collection paper label. Measures approx; 37cm wide. Condition two chips of large size to sides.
Lot 74
Peng Xiancheng (b.1941)Polo PlayersInk and colours on paper, with signature and seal of the artist. 133cm (52 3/8in) long x 67cm (26 3/8in) high.Footnotes:彭先誠 「唐人馬球圖」 一九八六年作 紙本設色題識：唐人馬球圖 嵗在丙寅年冬月於錦里 先誠畫并题鈐印：先誠Peng Xiancheng is a contemporary Chinese artist based in Chengdu, China, known for his depictions of Tang dynasty ladies on horseback using a 'boneless' style involving carefully controlled drops of ink. Peng Xiancheng is a mainly self-taught artist who only began painting in the 1970s after years of being a teacher.Similar paintings by Peng Xiancheng of polo players were sold at Christie's Hong Kong, 1 December 2015, lot 1469; 28 May 2007, lot 1213; and 27 November 2006, lot 1063.For further information on this lot please visit Bonhams.com
Lot 20
A BRONZE TRIPOD INCENSE BURNER, LIDINGXuande seal mark, 17th/18th century Of compressed globular form raised on three low conical feet, the sides flanked by a pair of loop handles, the underside crisply cast with Xuande seal mark in a rectangular cartouche. 13cm (5 1/8in) wide.Footnotes:十七/十八世紀 銅雙耳壓經爐「宣德年製」篆書款Finely cast, the present incense burner belongs to a special group of vessels bearing apocryphal Xuande reign marks, which were often inspired in form by Southern Song dynasty ceramic censers; see G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, p.150, no.123, where a related incense burner covered in gold splashes is illustrated. Compare with a similarly-shaped bronze tripod incense burner but with a circular foot, 17th century, in the Victoria and Albert Museum, London, illustrated by R.Kerr, Later Chinese Bronzes, London, 1990, pl.24.A related bronze incense burner, 17th century, was sold at Sotheby's Hong Kong, 8 April 2013, lot 173.For further information on this lot please visit Bonhams.com
Lot 36
A CELADON, UNDERGLAZE BLUE AND COPPER-RED VASEQianlong four-character mark and of the periodOf baluster form, the large central band around the body painted in underglaze blue and copper-red with a continuous scene of flowers, gnarled rocks and insects, moulded lappets on the shoulder and applied with a pair of beast-head handles, the flaring neck decorated in copper-red with meandering floral scrolls, the ormolu mounts 18th/19th century. 29.2cm (11 1/2in) high. (2).Footnotes:清乾隆 冬青釉青花釉里紅花卉紋瓶青花「乾隆年製」篆書款Related porcelain vases in celadon, underglaze blue and copper-red, with later ormolu mounts were popular with European nobility and royalty. See for example, a related vase, 18th century, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, vol.II, London, 2016, pp.504-505, no.1275. Similar Qianlong seal marks are illustrated in Ibid., p.504.For further information on this lot please visit Bonhams.com
Lot 134
An impressive and finely inlaid iron vase and cover with historical scenesBy the Komai Company of Kyoto, Meiji era (1868-1912), late 19th/early 20th centuryDecorated with gold nunome damascene overlay and silver details, the flattened-spherical body with a tall foot resting on a stand with four lobed feet, silvered elephant-head handles to either side each with a pendant chain including lobed floral ornaments and a bell-like finial, the hemispherical cover surmounted by a shishi (Chinese mythological lion dog), each side of the body with a silver-rimmed lobed panel, on one side a night scene of a seated Buddhist monk/samurai with his armour chest and tachi behind him, writing brush in hand, facing a helmet-less samurai also holding writing materials, behind them a nomaku (field curtain) emblazoned with three Uesugi-sasa mon (Bamboo-and-sparrow crests, see below) and an overhanging pine tree, the scene illuminated by two kagari (braziers), on the other side a related scene, in a different location, of two samurai in mortal combat, scattered sakazuki (sake cups) at their feet, one holding a long yari which the other parries with his left hand while brandishing a tachi in his right, the surrounding surfaces with typical Komai dense ground decoration including ho-o birds, peony scrolls, key fret, floral medallions, birds and creepers, vine leaves and scrolls, chrysanthemum mon (crests), katabami mon (woodsorrel crests), butterflies and other motifs, signed underneath in gold in seal form Nihonkoku Kyoto no ju Komai sei (Manufactured by Komai of Kyoto in Japan). 17.5cm x 12cm x 29cm (6 7/8in x 4¾in x 11 7/16in). (2).Footnotes:The decoration on large-scale Komai work often incorporates detailed, complex narrative scenes based on recent or contemporary woodblock-printed sources. Although the precise source has yet to be identified, this is likely the case with the present lot, whose lobed panels depict two, probably linked, scenes from the civil wars that ravaged Japan in the second half of the sixteenth century. The large mon (crest) with two confronted sparrows and leaves of bamboo grass, shown three times on the nomaku (field curtain) behind the senior figure in the more peaceful scene, is that of Uesugi Kenshin (1530-1578), one of the most powerful warlords of the day; he was renowned for his Buddhist piety and devotion to Bishamon, the Buddhist God of War, which may explain his appearance here in the garb of a monk. The most likely episode is perhaps the inconclusive fourth battle of Kawanakajima (1561), whose most famous episode is a one-on-one combat between Uesugi and Takeda Shingen (1521-1573).For further information on this lot please visit Bonhams.com
Lot 210
A pair of Satsuma miniature trumpet-shaped vasesBy Seikozan, Meiji era (1868-1912), late 19th/early 20th centuryFinely decorated in enamels and gilt, both vases with complementary scenes enclosed within two wide-rimmed, waisted rectangular panels, one vase depicting a mass gathering of spectators watching a Noh play and the interior of an emperor's court, the second vase with crowds of townspeople at a temple grounds and a court ceremony attended by scholars and high-ranking courtiers seated in front of a bamboo blind, both vases decorated with a procession of karako (Chinese boys) above the feet; both vases signed with a gilt seal Seikozan. Both vases: 9cm (3½in) high. (2).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
Lot 216
A Satsuma baluster vaseBy Yoshi/Kichi, Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and gilt with a continuous design painted in iron red around the body with a mountainous Chinese landscape, a bridge crossing over the river and a path ascending the soaring mountains leading to a pagoda in the foreground, the shoulder encircled with a band of peony blossoms on a brocade ground, signed on the base Yoshi/Kichi tsukuru; with an later wood storage box inscribed on the lid Satsuma-yaki kabin, Issei with seal. 20.5cm (8 1/16in) high. (2).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
Lot 316
Yoshida Toshi (1911-1995)Showa era (1926-1989), 1980A large tate-e triptych of Sho, Chiku, Bai (Pine, Bamboo, and Plum [Garden of the Three Friends]), signed in pencil in Chinese characters Yoshida Toshi along the bottom margin and Toshi with seal Yoshida Toshi within the image, a limited edition and commissioned by the Franklin Gallery, Pennsylvania, with the certificates issued by the gallery dated Showa 55 (1980); each mounted, framed and glazed. Overall: 78cm x 40cm (30¾in x 15¾in); image: 52cm x 26.5cm (20½in x 10 7/16in). (6).For further information on this lot please visit Bonhams.com
Lot 50
A gold-lacquered and Shibayama inlaid tanto koshira-e (mounting for a short sword)Attributed to Shibayama Yasumasa (Ekisei), Meiji era (1868–1912), late 19th/early 20th centuryThe scabbard and hilt of kinji lacquer with details in gold and aokin (mixed gold and silver) takamaki-e, elaborately encrusted in typical Shibayama style with Chinese auspicious motifs, on one side with Shoshi seated astride a dragon and reading a scroll, on the other side his wife holding a sprig of peony and riding a ho-o bird, the silver kabutogane (pommel) in the form of another ho-o bird in silver, the aikuchi (fittings where the hilt and scabbard meet), kurikata (cord runner) and kojiri (decorative ornament at the base of the scabbard) also of silver, delicately engraved with paulownia and foliate designs, the en-suite gold-lacquer kozuka (knife handle) similarly inlaid in Shibayama style with two karako (Chinese boys) brandishing a banner, the blade of plain hirazukuri form; signed with a red-lacquer seal Yasu. Total length: 40cm (15¾in) long; the blade: 24cm (9 7/8in) long.For further information on this lot please visit Bonhams.com
Lot 88
TANABE CHIKUUNSAI I (1877–1937)Taisho (1912-1926) or Showa (1926-1989) era, 1920sHonen ('Fruitful Year'): A handled flower basket of kurochiku or shichiku bamboo (Phyllostachys nigra) plaited in free-style openwork twill weave overlaid with further free-style elements, the handle formed from an unsplit culm of natural bamboo secured on each side with elaborate rattan knotting, the otoshi (water container) a facetted and lacquered section of bamboo; signed underneath with incised characters Chikuunsai kore o tsukuru (Chikuunsai made this); with a wood tomobako storage box inscribed and signed Tennen chikute shichiku hanakago Honen (A dark bamboo flower basket with a natural bamboo handle [named] 'Fruitful Year'; Sakaifu Nanso Chikuunsai kore o tsukuru (Chikuunsai of the Nanso Studio made this in Sakai) and sealed: Denjo no in (Seal of Denjo) and Chikuunsai. 49cm x 17.2cm x 16.8cm (19¼in x 6¾in x 6½in). (3).Footnotes:In this and lot 89, Tanabe Chikuunsai, arguably the greatest of all bamboo artists active in the Kansai region in the early twentieth century, shows himself to be the master not just of intricate classical Chinese-style plaiting but also of bold new styles of basketry that swept Japan during the 1920s.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
Lot 43
A GOLD-SPLASHED BRONZE TRIPOD INCENSE BURNER, DINGXuande seal mark, 17th/18th centuryOf globular shape supported on three short curling legs, and set with two bail handles rising from the rim, the base cast with a Xuande six-character mark, with irregular splashes of gold on the olive-brown patina. 18.5cm (7 2/8in) wide.Footnotes:十七/十八世紀 銅灑金三足鼎式爐「宣德」篆書款Provenance: an important European private collection來源：歐洲重要私人收藏The form of the present incense burner is based on the archaic bronze food ritual vessel, ding, produced during the Shang dynasty. As such, it reflects the Qing emperors' fascination with antiquity, and their call for craftsman to take inspiration from earlier forms and designs.The 'gold-splashed' decoration was achieved by 'fire-gilding', a technique involving the application of gold in the form of a mercury/gold amalgam. Subsequently the vessel was heated to drive off the mercury, so that the small amount of gold was left adhering to the base metal. The process could then be repeated several times to build up thicker layers of gold. Indeed, a line drawing of a gold-splashed incense burner in the 'Illustrated Catalogue of the Ritual Vessels of the Xuande Period' Xuande Yiqi Tupu, which purports to be the wording of an Imperial decree of 1428 ordering bronzes for the Palace, and which illustrates these vessels, would seem to indicate that the practice of applying gold splashes on bronzes may have been used since the 15th century. Many scholars, however, have argued that the this work may have been published at a later stage than the Ming dynasty; see R.Kerr, Later Chinese Bronzes, London, 1990, p.18.Compare with a related gold-splashed globular tripod incense burner, 18th century, with a two-character Xuande seal mark, which was sold at Sotheby's Hong Kong, 8 October 2019, lot 3650.爐斂口，口沿上施一對沖耳，圓腹，下接三矮足，仿商周銅器獸蹄足之意。通體灑金，線條流暢，古雅大方。爐底正中鏨刻「宣德」篆書款。爐型仿商周重要青銅禮器鼎，是清朝自上而下鑑古仿古風尚的實例體現。本品所用的灑金工藝起源尚不明晰，或始於明代；《宣德彝器圖譜》繪有一件灑金銅爐，可資證明。 《宣德彝器圖譜》據傳編撰於1428年，然而也有學者認為其成書時間或晚於明代。參見R.Kerr著，《Later Chinese Bronzes》，倫敦，1990年，頁18。參考一件與本例相關的十八世紀銅灑金橋耳三足爐，同施「宣德」篆書仿款，售於香港蘇富比，2019年10月8日，拍品編號3650。For further information on this lot please visit Bonhams.com
Lot 86
XU BEIHONG (1895-1953)Galloping HorseInk on paper, inscribed and signed Beihong, with one seal of the artist, dated thirty-first year of the Republic of China (1942), framed and glazed. 58.5cm (23in) high x 42.5cm (16 6/8in) wide.Footnotes:徐悲鴻 奔馬 一九四二年作 紙本水墨 鏡框裝裱款識：卅一年冬至，悲鴻渝州遣興。鈐印：悲鴻Provenance: Lillian Chu Finnerty (1920-2010), and thence by descent Bonhams Hong Kong, 28 November 2015, lot 173An important European private collection來源：李佩恩（1920-2010年）收藏，後由家族繼承香港邦瀚斯，2015年11月28日，拍品編號173歐洲重要私人收藏Xu Beihong is widely recognised as the father of modern Chinese painting, both for his innovative ink works that revitalised the traditional Chinese form, and for his willingness to embrace Western techniques.Winning high acclaim for their bold and lively styles, the horse paintings by Xu Beihong were highly admired amongst collectors and connoisseurs for their strength and vivacity, whilst also expressing Xu's desire to show his own feelings of patriotism. Born in Yixing, Jiangsu Province, in 1895, Xu grew up in an artistic family and showed talent at an early age. In 1915, he moved to Shanghai, then a melting pot of Chinese and Western cultures, to begin his studies. There he met Kang Youwei, the scholar and political reformer, who became his mentor and greatly influenced Xu's thinking about the need to incorporate Western practices and ideas into Chinese art.Throughout his life, Xu Beihong championed the revitalisation of Chinese painting through an integration of Western-style realism and Chinese brush techniques. Here, using sharp tonal contrasts between black ink and white paper, Xu's swift rendition of the noble steed embodies the spirit of traditional 'ink play'. The horse's natural pose is deftly captured in abbreviated brushwork, however, the horse's accurate anatomy and the convincing foreshortening of its body reflect Xu's solid grounding in Western academic art. The powerful demeanour of the unleashed unmounted animal may convey a Western influence, but its mane and tail, blowing unnaturally in opposite directions, testify to the artist's ultimately subjective approach.Xu employed freehand strokes, only outlining the critical parts, such as the nose, the chest and the hooves. Xu Beihong studied the anatomy of horses and observed their postures and expressions in great detail; the shape of the large muscles at the neck, breast and back is accentuated with ink washes executed in various tones, giving life to a remarkably robust figure, whilst, at the same time, reinstating Xu Beihong's position as a leader of one of the first generation of innovative artists seeking to reinvigorate the long tradition of Chinese aesthetics.Xu's powerful and passionate images of horses, a traditional symbol of Chinese martial spirit, were intended to inspire patriotic resistance during the Sino-Japanese War (1937–1945). See a related ink on paper depiction of a 'Heavenly Horse' by Xu Beihong, in the Metropolitan Museum of Art, New York, published by Shi-yee Liu, Straddling East and West: Lin Yutang, a Modern Literatus, New York, 2007, p.52.Compare with a similar ink on paper painting of a galloping horse by Xu Beihong, which was sold at Christie's Hong Kong, 27 May 2014, lot 1258.徐悲鴻，中國現代畫家、美術教育家，以其開創性的風格改良了傳統中國畫形式，被尊為中國現代美術的奠基者。自二十世紀三十年代，徐悲鴻探索出大寫意馬的筆法，至本畫作創作之時已是駕輕就熟，恣意揮灑。畫中的馬從遠處疾馳而來，四肢騰空，目視前方，充滿鼓舞人心的力量。悲鴻先生以馬之精神喻人之精神，借物言志，以此抒發愛國情感。徐悲鴻1895年生於江蘇宜興，自幼隨父習詩文書畫。1915年隻身赴滬，後結識康有為，深受其變革中國畫思想的影響，並身體力行之，終成一大流派。徐悲鴻一生致力於中西融合，以傳統筆墨技法傳達西方寫實主義造型規律。一如此例，以濃淡水墨率筆勾勒加大寫意渲染造型，而精確的解剖結構和透視技法則體現了其紮實的寫實功底；惟橫掃出的鬃毛及馬尾相對飛動，應是畫家主觀視角之呈現。在戰火連綿的年代，悲鴻先生為籌款四處奔走。他筆下的奔馬，筆墨酣暢淋漓，盡抒胸臆，疾風勁草，無疆不羈，令人觀之振奮，以喚起民眾頑強拼搏，堅韌不拔之精神。紐約大都會藝術博物館藏一幅林語堂舊藏徐悲鴻作《天馬圖》，收錄於劉晞儀著，《Straddling East and West: Lin Yutang, a Modern Literatus》，紐約，2007年，頁52，可為參考。另可比較一幅構圖相似的《奔馬圖》，售於香港佳士得，2014年5月27日，拍品編號1258。... For further information on this lot please visit Bonhams.com
Lot 81
Oriental Ceramics - a Chinese famille noire porcelain baluster vase, painted with famille rose reserves and foliage, 36cm high, six-character red seal mark, 20th century, (1); a Japanese Imari baluster vase, painted in the typical palette and picked out in gilt, 40cm high, signed shoulder, the base with red character marks, Meiji period, (1), [2]
Lot 267
A MIXED LOT OF 12 19TH CENTURY CHINESE FAMILLE ROSE PORCELAIN OBJECTS, to name a few a pair of stem dishes decorated with butterflies and lotus 7.5cm high x 14cm diameter, a small cylindrical box and cover, red seal mark 9cm diameter , a phoenix decorated rice bowl and cover, the base with a red mark 16cm, and eight other items. (12)
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